Split (1)

train · 23.2k rows

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_0019_track_06	18	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_0019_track_06.wav	/Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_08_wavering_pad.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_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.	{ "album_sequence": 3, "avg_word_length": 5.038095238095238, "boundary_fluidity_score": 0, "concept_length": 633, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.09523809523809525, "ontological_uncertainty": 0.09523809523809525, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 7.6190476190476195, "rebracketing_type": "spatial", "sentence_count": 6, "temporal_complexity_score": 0.09523809523809525, "track_duration": 276.022, "track_id": "03_08", "track_position": 8, "uncertainty_level": 0, "word_count": 105 }	Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] \| Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] \| Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] \| Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] \| Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] \| Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] \| Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] \| Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] \| Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] \| Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] \| Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] \| Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022]	null
03_08_seg_0019_track_07	18	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_0019_track_07.wav	/Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_10_ambient_light.mid	192.132	201.063	8.931	false	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	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.	{ "album_sequence": 3, "avg_word_length": 5.038095238095238, "boundary_fluidity_score": 0, "concept_length": 633, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.09523809523809525, "ontological_uncertainty": 0.09523809523809525, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 7.6190476190476195, "rebracketing_type": "spatial", "sentence_count": 6, "temporal_complexity_score": 0.09523809523809525, "track_duration": 276.022, "track_id": "03_08", "track_position": 8, "uncertainty_level": 0, "word_count": 105 }	Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] \| Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] \| Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] \| Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] \| Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] \| Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] \| Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] \| Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] \| Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] \| Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] \| Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] \| Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022]	null
03_08_seg_0019_track_08	18	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_0019_track_08.wav	/Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_12_melody.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_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.	{ "album_sequence": 3, "avg_word_length": 5.038095238095238, "boundary_fluidity_score": 0, "concept_length": 633, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.09523809523809525, "ontological_uncertainty": 0.09523809523809525, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 7.6190476190476195, "rebracketing_type": "spatial", "sentence_count": 6, "temporal_complexity_score": 0.09523809523809525, "track_duration": 276.022, "track_id": "03_08", "track_position": 8, "uncertainty_level": 0, "word_count": 105 }	Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] \| Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] \| Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] \| Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] \| Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] \| Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] \| Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] \| Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] \| Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] \| Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] \| Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] \| Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022]	null
03_08_seg_0019_track_10	18	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_0019_track_10.wav	/Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_16_chords.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_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.	{ "album_sequence": 3, "avg_word_length": 5.038095238095238, "boundary_fluidity_score": 0, "concept_length": 633, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.09523809523809525, "ontological_uncertainty": 0.09523809523809525, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 7.6190476190476195, "rebracketing_type": "spatial", "sentence_count": 6, "temporal_complexity_score": 0.09523809523809525, "track_duration": 276.022, "track_id": "03_08", "track_position": 8, "uncertainty_level": 0, "word_count": 105 }	Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] \| Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] \| Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] \| Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] \| Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] \| Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] \| Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] \| Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] \| Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] \| Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] \| Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] \| Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022]	null
03_08_seg_0019_track_11	18	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_0019_track_11.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_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.	{ "album_sequence": 3, "avg_word_length": 5.038095238095238, "boundary_fluidity_score": 0, "concept_length": 633, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.09523809523809525, "ontological_uncertainty": 0.09523809523809525, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 7.6190476190476195, "rebracketing_type": "spatial", "sentence_count": 6, "temporal_complexity_score": 0.09523809523809525, "track_duration": 276.022, "track_id": "03_08", "track_position": 8, "uncertainty_level": 0, "word_count": 105 }	Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] \| Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] \| Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] \| Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] \| Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] \| Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] \| Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] \| Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] \| Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] \| Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] \| Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] \| Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022]	null
03_08_seg_0019_track_12	18	03_08	12	Tweed Guitar	null	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_18_tweed_guitar.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0019_track_12.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_12	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.	{ "album_sequence": 3, "avg_word_length": 5.038095238095238, "boundary_fluidity_score": 0, "concept_length": 633, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.09523809523809525, "ontological_uncertainty": 0.09523809523809525, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 7.6190476190476195, "rebracketing_type": "spatial", "sentence_count": 6, "temporal_complexity_score": 0.09523809523809525, "track_duration": 276.022, "track_id": "03_08", "track_position": 8, "uncertainty_level": 0, "word_count": 105 }	Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] \| Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] \| Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] \| Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] \| Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] \| Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] \| Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] \| Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] \| Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] \| Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] \| Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] \| Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022]	null
03_08_seg_0019_track_15	18	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_0019_track_15.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_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.	{ "album_sequence": 3, "avg_word_length": 5.038095238095238, "boundary_fluidity_score": 0, "concept_length": 633, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.09523809523809525, "ontological_uncertainty": 0.09523809523809525, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 7.6190476190476195, "rebracketing_type": "spatial", "sentence_count": 6, "temporal_complexity_score": 0.09523809523809525, "track_duration": 276.022, "track_id": "03_08", "track_position": 8, "uncertainty_level": 0, "word_count": 105 }	Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] \| Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] \| Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] \| Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] \| Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] \| Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] \| Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] \| Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] \| Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] \| Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] \| Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] \| Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022]	null
03_08_seg_0019_track_16	18	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_0019_track_16.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_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.	{ "album_sequence": 3, "avg_word_length": 5.038095238095238, "boundary_fluidity_score": 0, "concept_length": 633, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.09523809523809525, "ontological_uncertainty": 0.09523809523809525, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 7.6190476190476195, "rebracketing_type": "spatial", "sentence_count": 6, "temporal_complexity_score": 0.09523809523809525, "track_duration": 276.022, "track_id": "03_08", "track_position": 8, "uncertainty_level": 0, "word_count": 105 }	Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] \| Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] \| Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] \| Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] \| Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] \| Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] \| Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] \| Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] \| Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] \| Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] \| Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] \| Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022]	null
03_08_seg_0019_track_17	18	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_0019_track_17.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_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.	{ "album_sequence": 3, "avg_word_length": 5.038095238095238, "boundary_fluidity_score": 0, "concept_length": 633, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.09523809523809525, "ontological_uncertainty": 0.09523809523809525, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 7.6190476190476195, "rebracketing_type": "spatial", "sentence_count": 6, "temporal_complexity_score": 0.09523809523809525, "track_duration": 276.022, "track_id": "03_08", "track_position": 8, "uncertainty_level": 0, "word_count": 105 }	Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] \| Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] \| Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] \| Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] \| Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] \| Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] \| Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] \| Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] \| Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] \| Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] \| Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] \| Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022]	null
03_08_seg_0019_track_19	18	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_0019_track_19.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_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.	{ "album_sequence": 3, "avg_word_length": 5.038095238095238, "boundary_fluidity_score": 0, "concept_length": 633, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.09523809523809525, "ontological_uncertainty": 0.09523809523809525, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 7.6190476190476195, "rebracketing_type": "spatial", "sentence_count": 6, "temporal_complexity_score": 0.09523809523809525, "track_duration": 276.022, "track_id": "03_08", "track_position": 8, "uncertainty_level": 0, "word_count": 105 }	Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] \| Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] \| Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] \| Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] \| Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] \| Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] \| Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] \| Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] \| Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] \| Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] \| Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] \| Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022]	null
03_08_seg_0019_track_20	18	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_0019_track_20.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_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.	{ "album_sequence": 3, "avg_word_length": 5.038095238095238, "boundary_fluidity_score": 0, "concept_length": 633, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.09523809523809525, "ontological_uncertainty": 0.09523809523809525, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 7.6190476190476195, "rebracketing_type": "spatial", "sentence_count": 6, "temporal_complexity_score": 0.09523809523809525, "track_duration": 276.022, "track_id": "03_08", "track_position": 8, "uncertainty_level": 0, "word_count": 105 }	Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] \| Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] \| Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] \| Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] \| Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] \| Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] \| Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] \| Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] \| Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] \| Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] \| Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] \| Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022]	null
03_08_seg_0019_track_21	18	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_0019_track_21.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_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.	{ "album_sequence": 3, "avg_word_length": 5.038095238095238, "boundary_fluidity_score": 0, "concept_length": 633, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.09523809523809525, "ontological_uncertainty": 0.09523809523809525, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 7.6190476190476195, "rebracketing_type": "spatial", "sentence_count": 6, "temporal_complexity_score": 0.09523809523809525, "track_duration": 276.022, "track_id": "03_08", "track_position": 8, "uncertainty_level": 0, "word_count": 105 }	Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] \| Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] \| Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] \| Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] \| Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] \| Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] \| Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] \| Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] \| Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] \| Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] \| Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] \| Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022]	null
03_08_seg_0019_track_22	18	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_0019_track_22.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_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.	{ "album_sequence": 3, "avg_word_length": 5.038095238095238, "boundary_fluidity_score": 0, "concept_length": 633, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.09523809523809525, "ontological_uncertainty": 0.09523809523809525, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 7.6190476190476195, "rebracketing_type": "spatial", "sentence_count": 6, "temporal_complexity_score": 0.09523809523809525, "track_duration": 276.022, "track_id": "03_08", "track_position": 8, "uncertainty_level": 0, "word_count": 105 }	Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] \| Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] \| Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] \| Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] \| Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] \| Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] \| Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] \| Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] \| Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] \| Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] \| Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] \| Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022]	null
03_08_seg_0020_track_02	19	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_0020_track_02.wav	null	201.063	204.063	3	true	false	Give in! Give in! Give in to the taste!	Verse A as Jams	combined	201.063	204.063	false		false	null	43	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.	{ "album_sequence": 3, "avg_word_length": 5.038095238095238, "boundary_fluidity_score": 0, "concept_length": 633, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.09523809523809525, "ontological_uncertainty": 0.09523809523809525, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 7.6190476190476195, "rebracketing_type": "spatial", "sentence_count": 6, "temporal_complexity_score": 0.09523809523809525, "track_duration": 276.022, "track_id": "03_08", "track_position": 8, "uncertainty_level": 0, "word_count": 105 }	Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] \| Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] \| Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] \| Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] \| Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] \| Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] \| Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] \| Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] \| Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] \| Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] \| Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] \| Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022]	null
03_08_seg_0020_track_03	19	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_0020_track_03.wav	/Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_03_dm.mid	201.063	204.063	3	true	true	Give in! Give in! Give in to the taste!	Verse A as Jams	combined	201.063	204.063	false		false	null	43	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.	{ "album_sequence": 3, "avg_word_length": 5.038095238095238, "boundary_fluidity_score": 0, "concept_length": 633, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.09523809523809525, "ontological_uncertainty": 0.09523809523809525, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 7.6190476190476195, "rebracketing_type": "spatial", "sentence_count": 6, "temporal_complexity_score": 0.09523809523809525, "track_duration": 276.022, "track_id": "03_08", "track_position": 8, "uncertainty_level": 0, "word_count": 105 }	Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] \| Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] \| Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] \| Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] \| Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] \| Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] \| Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] \| Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] \| Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] \| Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] \| Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] \| Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022]	null
03_08_seg_0020_track_04	19	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_0020_track_04.wav	null	201.063	204.063	3	true	false	Give in! Give in! Give in to the taste!	Verse A as Jams	combined	201.063	204.063	false		false	null	43	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.	{ "album_sequence": 3, "avg_word_length": 5.038095238095238, "boundary_fluidity_score": 0, "concept_length": 633, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.09523809523809525, "ontological_uncertainty": 0.09523809523809525, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 7.6190476190476195, "rebracketing_type": "spatial", "sentence_count": 6, "temporal_complexity_score": 0.09523809523809525, "track_duration": 276.022, "track_id": "03_08", "track_position": 8, "uncertainty_level": 0, "word_count": 105 }	Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] \| Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] \| Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] \| Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] \| Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] \| Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] \| Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] \| Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] \| Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] \| Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] \| Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] \| Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022]	null
03_08_seg_0020_track_05	19	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_0020_track_05.wav	/Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_06_drum_kit.mid	201.063	204.063	3	true	true	Give in! Give in! Give in to the taste!	Verse A as Jams	combined	201.063	204.063	false		false	null	43	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.	{ "album_sequence": 3, "avg_word_length": 5.038095238095238, "boundary_fluidity_score": 0, "concept_length": 633, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.09523809523809525, "ontological_uncertainty": 0.09523809523809525, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 7.6190476190476195, "rebracketing_type": "spatial", "sentence_count": 6, "temporal_complexity_score": 0.09523809523809525, "track_duration": 276.022, "track_id": "03_08", "track_position": 8, "uncertainty_level": 0, "word_count": 105 }	Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] \| Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] \| Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] \| Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] \| Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] \| Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] \| Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] \| Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] \| Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] \| Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] \| Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] \| Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022]	null
03_08_seg_0020_track_06	19	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_0020_track_06.wav	/Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_08_wavering_pad.mid	201.063	204.063	3	true	true	Give in! Give in! Give in to the taste!	Verse A as Jams	combined	201.063	204.063	false		false	null	43	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.	{ "album_sequence": 3, "avg_word_length": 5.038095238095238, "boundary_fluidity_score": 0, "concept_length": 633, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.09523809523809525, "ontological_uncertainty": 0.09523809523809525, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 7.6190476190476195, "rebracketing_type": "spatial", "sentence_count": 6, "temporal_complexity_score": 0.09523809523809525, "track_duration": 276.022, "track_id": "03_08", "track_position": 8, "uncertainty_level": 0, "word_count": 105 }	Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] \| Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] \| Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] \| Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] \| Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] \| Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] \| Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] \| Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] \| Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] \| Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] \| Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] \| Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022]	null
03_08_seg_0020_track_07	19	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_0020_track_07.wav	/Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_10_ambient_light.mid	201.063	204.063	3	false	true	Give in! Give in! Give in to the taste!	Verse A as Jams	combined	201.063	204.063	false		false	null	43	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.	{ "album_sequence": 3, "avg_word_length": 5.038095238095238, "boundary_fluidity_score": 0, "concept_length": 633, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.09523809523809525, "ontological_uncertainty": 0.09523809523809525, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 7.6190476190476195, "rebracketing_type": "spatial", "sentence_count": 6, "temporal_complexity_score": 0.09523809523809525, "track_duration": 276.022, "track_id": "03_08", "track_position": 8, "uncertainty_level": 0, "word_count": 105 }	Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] \| Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] \| Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] \| Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] \| Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] \| Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] \| Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] \| Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] \| Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] \| Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] \| Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] \| Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022]	null
03_08_seg_0020_track_08	19	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_0020_track_08.wav	/Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_12_melody.mid	201.063	204.063	3	true	true	Give in! Give in! Give in to the taste!	Verse A as Jams	combined	201.063	204.063	false		false	null	43	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.	{ "album_sequence": 3, "avg_word_length": 5.038095238095238, "boundary_fluidity_score": 0, "concept_length": 633, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.09523809523809525, "ontological_uncertainty": 0.09523809523809525, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 7.6190476190476195, "rebracketing_type": "spatial", "sentence_count": 6, "temporal_complexity_score": 0.09523809523809525, "track_duration": 276.022, "track_id": "03_08", "track_position": 8, "uncertainty_level": 0, "word_count": 105 }	Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] \| Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] \| Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] \| Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] \| Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] \| Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] \| Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] \| Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] \| Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] \| Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] \| Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] \| Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022]	null
03_08_seg_0020_track_10	19	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_0020_track_10.wav	/Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_16_chords.mid	201.063	204.063	3	true	true	Give in! Give in! Give in to the taste!	Verse A as Jams	combined	201.063	204.063	false		false	null	43	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.	{ "album_sequence": 3, "avg_word_length": 5.038095238095238, "boundary_fluidity_score": 0, "concept_length": 633, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.09523809523809525, "ontological_uncertainty": 0.09523809523809525, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 7.6190476190476195, "rebracketing_type": "spatial", "sentence_count": 6, "temporal_complexity_score": 0.09523809523809525, "track_duration": 276.022, "track_id": "03_08", "track_position": 8, "uncertainty_level": 0, "word_count": 105 }	Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] \| Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] \| Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] \| Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] \| Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] \| Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] \| Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] \| Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] \| Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] \| Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] \| Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] \| Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022]	null
03_08_seg_0020_track_11	19	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_0020_track_11.wav	null	201.063	204.063	3	true	false	Give in! Give in! Give in to the taste!	Verse A as Jams	combined	201.063	204.063	false		false	null	43	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.	{ "album_sequence": 3, "avg_word_length": 5.038095238095238, "boundary_fluidity_score": 0, "concept_length": 633, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.09523809523809525, "ontological_uncertainty": 0.09523809523809525, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 7.6190476190476195, "rebracketing_type": "spatial", "sentence_count": 6, "temporal_complexity_score": 0.09523809523809525, "track_duration": 276.022, "track_id": "03_08", "track_position": 8, "uncertainty_level": 0, "word_count": 105 }	Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] \| Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] \| Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] \| Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] \| Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] \| Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] \| Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] \| Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] \| Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] \| Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] \| Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] \| Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022]	null
03_08_seg_0020_track_12	19	03_08	12	Tweed Guitar	null	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_18_tweed_guitar.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0020_track_12.wav	null	201.063	204.063	3	true	false	Give in! Give in! Give in to the taste!	Verse A as Jams	combined	201.063	204.063	false		false	null	43	39	9	0	0	audio_only	03_08_12	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.	{ "album_sequence": 3, "avg_word_length": 5.038095238095238, "boundary_fluidity_score": 0, "concept_length": 633, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.09523809523809525, "ontological_uncertainty": 0.09523809523809525, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 7.6190476190476195, "rebracketing_type": "spatial", "sentence_count": 6, "temporal_complexity_score": 0.09523809523809525, "track_duration": 276.022, "track_id": "03_08", "track_position": 8, "uncertainty_level": 0, "word_count": 105 }	Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] \| Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] \| Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] \| Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] \| Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] \| Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] \| Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] \| Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] \| Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] \| Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] \| Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] \| Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022]	null
03_08_seg_0020_track_14	19	03_08	14	Tiny Monster Guitar	null	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_19_tiny_monster_guitar.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0020_track_14.wav	null	201.063	204.063	3	true	false	Give in! Give in! Give in to the taste!	Verse A as Jams	combined	201.063	204.063	false		false	null	43	39	9	0	0	audio_only	03_08_14	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.	{ "album_sequence": 3, "avg_word_length": 5.038095238095238, "boundary_fluidity_score": 0, "concept_length": 633, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.09523809523809525, "ontological_uncertainty": 0.09523809523809525, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 7.6190476190476195, "rebracketing_type": "spatial", "sentence_count": 6, "temporal_complexity_score": 0.09523809523809525, "track_duration": 276.022, "track_id": "03_08", "track_position": 8, "uncertainty_level": 0, "word_count": 105 }	Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] \| Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] \| Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] \| Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] \| Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] \| Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] \| Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] \| Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] \| Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] \| Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] \| Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] \| Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022]	null
03_08_seg_0020_track_15	19	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_0020_track_15.wav	null	201.063	204.063	3	true	false	Give in! Give in! Give in to the taste!	Verse A as Jams	combined	201.063	204.063	false		false	null	43	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.	{ "album_sequence": 3, "avg_word_length": 5.038095238095238, "boundary_fluidity_score": 0, "concept_length": 633, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.09523809523809525, "ontological_uncertainty": 0.09523809523809525, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 7.6190476190476195, "rebracketing_type": "spatial", "sentence_count": 6, "temporal_complexity_score": 0.09523809523809525, "track_duration": 276.022, "track_id": "03_08", "track_position": 8, "uncertainty_level": 0, "word_count": 105 }	Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] \| Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] \| Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] \| Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] \| Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] \| Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] \| Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] \| Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] \| Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] \| Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] \| Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] \| Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022]	null
03_08_seg_0020_track_16	19	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_0020_track_16.wav	null	201.063	204.063	3	true	false	Give in! Give in! Give in to the taste!	Verse A as Jams	combined	201.063	204.063	false		false	null	43	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.	{ "album_sequence": 3, "avg_word_length": 5.038095238095238, "boundary_fluidity_score": 0, "concept_length": 633, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.09523809523809525, "ontological_uncertainty": 0.09523809523809525, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 7.6190476190476195, "rebracketing_type": "spatial", "sentence_count": 6, "temporal_complexity_score": 0.09523809523809525, "track_duration": 276.022, "track_id": "03_08", "track_position": 8, "uncertainty_level": 0, "word_count": 105 }	Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] \| Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] \| Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] \| Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] \| Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] \| Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] \| Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] \| Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] \| Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] \| Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] \| Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] \| Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022]	null
03_08_seg_0020_track_17	19	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_0020_track_17.wav	null	201.063	204.063	3	true	false	Give in! Give in! Give in to the taste!	Verse A as Jams	combined	201.063	204.063	false		false	null	43	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.	{ "album_sequence": 3, "avg_word_length": 5.038095238095238, "boundary_fluidity_score": 0, "concept_length": 633, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.09523809523809525, "ontological_uncertainty": 0.09523809523809525, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 7.6190476190476195, "rebracketing_type": "spatial", "sentence_count": 6, "temporal_complexity_score": 0.09523809523809525, "track_duration": 276.022, "track_id": "03_08", "track_position": 8, "uncertainty_level": 0, "word_count": 105 }	Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] \| Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] \| Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] \| Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] \| Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] \| Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] \| Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] \| Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] \| Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] \| Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] \| Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] \| Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022]	null
03_08_seg_0020_track_19	19	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_0020_track_19.wav	null	201.063	204.063	3	true	false	Give in! Give in! Give in to the taste!	Verse A as Jams	combined	201.063	204.063	false		false	null	43	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.	{ "album_sequence": 3, "avg_word_length": 5.038095238095238, "boundary_fluidity_score": 0, "concept_length": 633, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.09523809523809525, "ontological_uncertainty": 0.09523809523809525, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 7.6190476190476195, "rebracketing_type": "spatial", "sentence_count": 6, "temporal_complexity_score": 0.09523809523809525, "track_duration": 276.022, "track_id": "03_08", "track_position": 8, "uncertainty_level": 0, "word_count": 105 }	Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] \| Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] \| Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] \| Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] \| Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] \| Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] \| Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] \| Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] \| Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] \| Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] \| Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] \| Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022]	null
03_08_seg_0020_track_20	19	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_0020_track_20.wav	null	201.063	204.063	3	true	false	Give in! Give in! Give in to the taste!	Verse A as Jams	combined	201.063	204.063	false		false	null	43	39	9	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.	{ "album_sequence": 3, "avg_word_length": 5.038095238095238, "boundary_fluidity_score": 0, "concept_length": 633, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.09523809523809525, "ontological_uncertainty": 0.09523809523809525, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 7.6190476190476195, "rebracketing_type": "spatial", "sentence_count": 6, "temporal_complexity_score": 0.09523809523809525, "track_duration": 276.022, "track_id": "03_08", "track_position": 8, "uncertainty_level": 0, "word_count": 105 }	Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] \| Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] \| Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] \| Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] \| Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] \| Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] \| Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] \| Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] \| Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] \| Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] \| Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] \| Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022]	null
03_08_seg_0020_track_21	19	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_0020_track_21.wav	null	201.063	204.063	3	true	false	Give in! Give in! Give in to the taste!	Verse A as Jams	combined	201.063	204.063	false		false	null	43	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.	{ "album_sequence": 3, "avg_word_length": 5.038095238095238, "boundary_fluidity_score": 0, "concept_length": 633, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.09523809523809525, "ontological_uncertainty": 0.09523809523809525, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 7.6190476190476195, "rebracketing_type": "spatial", "sentence_count": 6, "temporal_complexity_score": 0.09523809523809525, "track_duration": 276.022, "track_id": "03_08", "track_position": 8, "uncertainty_level": 0, "word_count": 105 }	Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] \| Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] \| Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] \| Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] \| Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] \| Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] \| Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] \| Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] \| Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] \| Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] \| Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] \| Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022]	null
03_08_seg_0020_track_22	19	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_0020_track_22.wav	null	201.063	204.063	3	true	false	Give in! Give in! Give in to the taste!	Verse A as Jams	combined	201.063	204.063	false		false	null	43	39	9	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.	{ "album_sequence": 3, "avg_word_length": 5.038095238095238, "boundary_fluidity_score": 0, "concept_length": 633, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.09523809523809525, "ontological_uncertainty": 0.09523809523809525, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 7.6190476190476195, "rebracketing_type": "spatial", "sentence_count": 6, "temporal_complexity_score": 0.09523809523809525, "track_duration": 276.022, "track_id": "03_08", "track_position": 8, "uncertainty_level": 0, "word_count": 105 }	Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] \| Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] \| Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] \| Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] \| Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] \| Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] \| Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] \| Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] \| Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] \| Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] \| Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] \| Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022]	null
03_09_seg_0001_track_09	0	03_09	9	Kick Drum	Drums	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_10_kick.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0001_track_09.wav	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_09_kick.mid	105.026	113.133	8.107	true	true	I’d be lying to you if I said I knew the way	Verse 1	combined	105.026	113.133	false		false	null	5	44	12	0	0	audio_midi	03_09_9	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0001_track_11	0	03_09	11	Kick Drum 2	Drums	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_12_kick2.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0001_track_11.wav	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_11_kick2.mid	105.026	113.133	8.107	true	true	I’d be lying to you if I said I knew the way	Verse 1	combined	105.026	113.133	false		false	null	5	44	12	0	0	audio_midi	03_09_11	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0001_track_13	0	03_09	13	Snare Drum	Drums	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_14_snare.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0001_track_13.wav	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_13_snare.mid	105.026	113.133	8.107	false	true	I’d be lying to you if I said I knew the way	Verse 1	combined	105.026	113.133	false		false	null	5	44	12	0	0	midi_only	03_09_13	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0001_track_15	0	03_09	15	Hi-Hat	Drums	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_16_hithat.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0001_track_15.wav	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_15_hithat.mid	105.026	113.133	8.107	false	true	I’d be lying to you if I said I knew the way	Verse 1	combined	105.026	113.133	false		false	null	5	44	12	0	0	midi_only	03_09_15	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0001_track_19	0	03_09	19	Crash Cymbal	Drums	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_20crash.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0001_track_19.wav	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_19_crash.mid	105.026	113.133	8.107	false	true	I’d be lying to you if I said I knew the way	Verse 1	combined	105.026	113.133	false		false	null	5	44	12	0	0	midi_only	03_09_19	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0001_track_23	0	03_09	23	GM Bass	Bass	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_23_gm_bass.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0001_track_23.wav	null	105.026	113.133	8.107	true	false	I’d be lying to you if I said I knew the way	Verse 1	combined	105.026	113.133	false		false	null	5	44	12	0	0	audio_only	03_09_23	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0001_track_24	0	03_09	24	Guitar 1	Guitars	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_24_guitar_1.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0001_track_24.wav	null	105.026	113.133	8.107	true	false	I’d be lying to you if I said I knew the way	Verse 1	combined	105.026	113.133	false		false	null	5	44	12	0	0	audio_only	03_09_24	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0001_track_25	0	03_09	25	Guitar 2	Guitars	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_25_guitar_2.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0001_track_25.wav	null	105.026	113.133	8.107	true	false	I’d be lying to you if I said I knew the way	Verse 1	combined	105.026	113.133	false		false	null	5	44	12	0	0	audio_only	03_09_25	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0001_track_26	0	03_09	26	Motor	FX	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_26_motor.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0001_track_26.wav	null	105.026	113.133	8.107	true	false	I’d be lying to you if I said I knew the way	Verse 1	combined	105.026	113.133	false		false	null	5	44	12	0	0	audio_only	03_09_26	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0002_track_09	1	03_09	9	Kick Drum	Drums	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_10_kick.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0002_track_09.wav	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_09_kick.mid	113.133	122.04	8.907	true	true	Why didn’t we keep with the group? Why did we have to stray?	Verse 1	combined	113.133	122.04	false		false	null	7	60	13	0	0	audio_midi	03_09_9	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0002_track_11	1	03_09	11	Kick Drum 2	Drums	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_12_kick2.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0002_track_11.wav	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_11_kick2.mid	113.133	122.04	8.907	true	true	Why didn’t we keep with the group? Why did we have to stray?	Verse 1	combined	113.133	122.04	false		false	null	7	60	13	0	0	audio_midi	03_09_11	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0002_track_13	1	03_09	13	Snare Drum	Drums	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_14_snare.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0002_track_13.wav	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_13_snare.mid	113.133	122.04	8.907	false	true	Why didn’t we keep with the group? Why did we have to stray?	Verse 1	combined	113.133	122.04	false		false	null	7	60	13	0	0	midi_only	03_09_13	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0002_track_15	1	03_09	15	Hi-Hat	Drums	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_16_hithat.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0002_track_15.wav	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_15_hithat.mid	113.133	122.04	8.907	false	true	Why didn’t we keep with the group? Why did we have to stray?	Verse 1	combined	113.133	122.04	false		false	null	7	60	13	0	0	midi_only	03_09_15	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0002_track_19	1	03_09	19	Crash Cymbal	Drums	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_20crash.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0002_track_19.wav	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_19_crash.mid	113.133	122.04	8.907	false	true	Why didn’t we keep with the group? Why did we have to stray?	Verse 1	combined	113.133	122.04	false		false	null	7	60	13	0	0	midi_only	03_09_19	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0002_track_23	1	03_09	23	GM Bass	Bass	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_23_gm_bass.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0002_track_23.wav	null	113.133	122.04	8.907	true	false	Why didn’t we keep with the group? Why did we have to stray?	Verse 1	combined	113.133	122.04	false		false	null	7	60	13	0	0	audio_only	03_09_23	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0002_track_24	1	03_09	24	Guitar 1	Guitars	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_24_guitar_1.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0002_track_24.wav	null	113.133	122.04	8.907	true	false	Why didn’t we keep with the group? Why did we have to stray?	Verse 1	combined	113.133	122.04	false		false	null	7	60	13	0	0	audio_only	03_09_24	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0002_track_25	1	03_09	25	Guitar 2	Guitars	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_25_guitar_2.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0002_track_25.wav	null	113.133	122.04	8.907	true	false	Why didn’t we keep with the group? Why did we have to stray?	Verse 1	combined	113.133	122.04	false		false	null	7	60	13	0	0	audio_only	03_09_25	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0002_track_26	1	03_09	26	Motor	FX	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_26_motor.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0002_track_26.wav	null	113.133	122.04	8.907	true	false	Why didn’t we keep with the group? Why did we have to stray?	Verse 1	combined	113.133	122.04	false		false	null	7	60	13	0	0	audio_only	03_09_26	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0003_track_09	2	03_09	9	Kick Drum	Drums	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_10_kick.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0003_track_09.wav	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_09_kick.mid	122.04	125.051	3.011	true	true	Let’s stop here for tonight	Verse 1	combined	122.04	125.051	false		false	null	9	27	5	0	0	audio_midi	03_09_9	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0003_track_11	2	03_09	11	Kick Drum 2	Drums	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_12_kick2.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0003_track_11.wav	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_11_kick2.mid	122.04	125.051	3.011	true	true	Let’s stop here for tonight	Verse 1	combined	122.04	125.051	false		false	null	9	27	5	0	0	audio_midi	03_09_11	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0003_track_13	2	03_09	13	Snare Drum	Drums	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_14_snare.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0003_track_13.wav	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_13_snare.mid	122.04	125.051	3.011	false	true	Let’s stop here for tonight	Verse 1	combined	122.04	125.051	false		false	null	9	27	5	0	0	midi_only	03_09_13	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0003_track_15	2	03_09	15	Hi-Hat	Drums	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_16_hithat.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0003_track_15.wav	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_15_hithat.mid	122.04	125.051	3.011	false	true	Let’s stop here for tonight	Verse 1	combined	122.04	125.051	false		false	null	9	27	5	0	0	midi_only	03_09_15	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0003_track_23	2	03_09	23	GM Bass	Bass	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_23_gm_bass.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0003_track_23.wav	null	122.04	125.051	3.011	true	false	Let’s stop here for tonight	Verse 1	combined	122.04	125.051	false		false	null	9	27	5	0	0	audio_only	03_09_23	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0003_track_26	2	03_09	26	Motor	FX	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_26_motor.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0003_track_26.wav	null	122.04	125.051	3.011	true	false	Let’s stop here for tonight	Verse 1	combined	122.04	125.051	false		false	null	9	27	5	0	0	audio_only	03_09_26	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0004_track_09	3	03_09	9	Kick Drum	Drums	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_10_kick.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0004_track_09.wav	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_09_kick.mid	125.051	129.167	4.116	true	true	They won’t get us, the cold just might	Verse 1	combined	125.051	129.167	true	End aligned to Chorus 1 boundary at 129.167s	false	null	11	38	8	0	0	audio_midi	03_09_9	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0004_track_11	3	03_09	11	Kick Drum 2	Drums	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_12_kick2.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0004_track_11.wav	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_11_kick2.mid	125.051	129.167	4.116	true	true	They won’t get us, the cold just might	Verse 1	combined	125.051	129.167	true	End aligned to Chorus 1 boundary at 129.167s	false	null	11	38	8	0	0	audio_midi	03_09_11	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0004_track_13	3	03_09	13	Snare Drum	Drums	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_14_snare.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0004_track_13.wav	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_13_snare.mid	125.051	129.167	4.116	true	true	They won’t get us, the cold just might	Verse 1	combined	125.051	129.167	true	End aligned to Chorus 1 boundary at 129.167s	false	null	11	38	8	0	0	audio_midi	03_09_13	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0004_track_15	3	03_09	15	Hi-Hat	Drums	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_16_hithat.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0004_track_15.wav	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_15_hithat.mid	125.051	129.167	4.116	false	true	They won’t get us, the cold just might	Verse 1	combined	125.051	129.167	true	End aligned to Chorus 1 boundary at 129.167s	false	null	11	38	8	0	0	midi_only	03_09_15	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0004_track_21	3	03_09	21	Toms	Drums	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_22_toms.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0004_track_21.wav	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_21_toms.mid	125.051	129.167	4.116	false	true	They won’t get us, the cold just might	Verse 1	combined	125.051	129.167	true	End aligned to Chorus 1 boundary at 129.167s	false	null	11	38	8	0	0	midi_only	03_09_21	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0004_track_23	3	03_09	23	GM Bass	Bass	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_23_gm_bass.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0004_track_23.wav	null	125.051	129.167	4.116	true	false	They won’t get us, the cold just might	Verse 1	combined	125.051	129.167	true	End aligned to Chorus 1 boundary at 129.167s	false	null	11	38	8	0	0	audio_only	03_09_23	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0004_track_26	3	03_09	26	Motor	FX	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_26_motor.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0004_track_26.wav	null	125.051	129.167	4.116	true	false	They won’t get us, the cold just might	Verse 1	combined	125.051	129.167	true	End aligned to Chorus 1 boundary at 129.167s	false	null	11	38	8	0	0	audio_only	03_09_26	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0005_track_09	4	03_09	9	Kick Drum	Drums	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_10_kick.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0005_track_09.wav	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_09_kick.mid	129.167	138.093	8.926	true	true	Search flares are falling dark the perimeter has been marked	Chorus 1	combined	129.167	138.093	true	Start aligned to Chorus 1 boundary at 129.167s	false	null	13	60	10	0	0	audio_midi	03_09_9	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0005_track_11	4	03_09	11	Kick Drum 2	Drums	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_12_kick2.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0005_track_11.wav	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_11_kick2.mid	129.167	138.093	8.926	true	true	Search flares are falling dark the perimeter has been marked	Chorus 1	combined	129.167	138.093	true	Start aligned to Chorus 1 boundary at 129.167s	false	null	13	60	10	0	0	audio_midi	03_09_11	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0005_track_13	4	03_09	13	Snare Drum	Drums	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_14_snare.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0005_track_13.wav	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_13_snare.mid	129.167	138.093	8.926	false	true	Search flares are falling dark the perimeter has been marked	Chorus 1	combined	129.167	138.093	true	Start aligned to Chorus 1 boundary at 129.167s	false	null	13	60	10	0	0	midi_only	03_09_13	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0005_track_15	4	03_09	15	Hi-Hat	Drums	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_16_hithat.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0005_track_15.wav	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_15_hithat.mid	129.167	138.093	8.926	false	true	Search flares are falling dark the perimeter has been marked	Chorus 1	combined	129.167	138.093	true	Start aligned to Chorus 1 boundary at 129.167s	false	null	13	60	10	0	0	midi_only	03_09_15	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0005_track_17	4	03_09	17	Ride Cymbal	Drums	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_18_ride.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0005_track_17.wav	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_17_ride.mid	129.167	138.093	8.926	false	true	Search flares are falling dark the perimeter has been marked	Chorus 1	combined	129.167	138.093	true	Start aligned to Chorus 1 boundary at 129.167s	false	null	13	60	10	0	0	midi_only	03_09_17	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0005_track_19	4	03_09	19	Crash Cymbal	Drums	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_20crash.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0005_track_19.wav	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_19_crash.mid	129.167	138.093	8.926	false	true	Search flares are falling dark the perimeter has been marked	Chorus 1	combined	129.167	138.093	true	Start aligned to Chorus 1 boundary at 129.167s	false	null	13	60	10	0	0	midi_only	03_09_19	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0005_track_23	4	03_09	23	GM Bass	Bass	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_23_gm_bass.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0005_track_23.wav	null	129.167	138.093	8.926	true	false	Search flares are falling dark the perimeter has been marked	Chorus 1	combined	129.167	138.093	true	Start aligned to Chorus 1 boundary at 129.167s	false	null	13	60	10	0	0	audio_only	03_09_23	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0006_track_09	5	03_09	9	Kick Drum	Drums	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_10_kick.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0006_track_09.wav	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_09_kick.mid	138.093	142.205	4.112	true	true	There’s no more room for discovery	Chorus 1	combined	138.093	142.205	false		false	null	15	34	6	0	0	audio_midi	03_09_9	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0006_track_11	5	03_09	11	Kick Drum 2	Drums	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_12_kick2.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0006_track_11.wav	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_11_kick2.mid	138.093	142.205	4.112	true	true	There’s no more room for discovery	Chorus 1	combined	138.093	142.205	false		false	null	15	34	6	0	0	audio_midi	03_09_11	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0006_track_13	5	03_09	13	Snare Drum	Drums	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_14_snare.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0006_track_13.wav	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_13_snare.mid	138.093	142.205	4.112	false	true	There’s no more room for discovery	Chorus 1	combined	138.093	142.205	false		false	null	15	34	6	0	0	midi_only	03_09_13	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0006_track_15	5	03_09	15	Hi-Hat	Drums	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_16_hithat.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0006_track_15.wav	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_15_hithat.mid	138.093	142.205	4.112	false	true	There’s no more room for discovery	Chorus 1	combined	138.093	142.205	false		false	null	15	34	6	0	0	midi_only	03_09_15	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0006_track_17	5	03_09	17	Ride Cymbal	Drums	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_18_ride.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0006_track_17.wav	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_17_ride.mid	138.093	142.205	4.112	false	true	There’s no more room for discovery	Chorus 1	combined	138.093	142.205	false		false	null	15	34	6	0	0	midi_only	03_09_17	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0006_track_23	5	03_09	23	GM Bass	Bass	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_23_gm_bass.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0006_track_23.wav	null	138.093	142.205	4.112	true	false	There’s no more room for discovery	Chorus 1	combined	138.093	142.205	false		false	null	15	34	6	0	0	audio_only	03_09_23	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0007_track_06	6	03_09	6	Turbo	Synths	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_06_turbo.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0007_track_06.wav	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_07_turbo.mid	142.205	163.153	20.948	true	true	Gone from rescue to recovery	Verse as Jams	combined	142.205	163.232	true	End aligned to Verse 2 boundary at 163.153s	false	null	17	28	5	0	-0.079	audio_midi	03_09_6	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0007_track_08	6	03_09	8	Ebow Guitar	Guitars	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_08_ebow_07_as_midi.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0007_track_08.wav	null	142.205	163.153	20.948	true	false	Gone from rescue to recovery	Verse as Jams	combined	142.205	163.232	true	End aligned to Verse 2 boundary at 163.153s	false	null	17	28	5	0	-0.079	audio_only	03_09_8	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0007_track_09	6	03_09	9	Kick Drum	Drums	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_10_kick.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0007_track_09.wav	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_09_kick.mid	142.205	163.153	20.948	true	true	Gone from rescue to recovery	Verse as Jams	combined	142.205	163.232	true	End aligned to Verse 2 boundary at 163.153s	false	null	17	28	5	0	-0.079	audio_midi	03_09_9	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0007_track_11	6	03_09	11	Kick Drum 2	Drums	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_12_kick2.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0007_track_11.wav	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_11_kick2.mid	142.205	163.153	20.948	true	true	Gone from rescue to recovery	Verse as Jams	combined	142.205	163.232	true	End aligned to Verse 2 boundary at 163.153s	false	null	17	28	5	0	-0.079	audio_midi	03_09_11	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0007_track_13	6	03_09	13	Snare Drum	Drums	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_14_snare.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0007_track_13.wav	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_13_snare.mid	142.205	163.153	20.948	false	true	Gone from rescue to recovery	Verse as Jams	combined	142.205	163.232	true	End aligned to Verse 2 boundary at 163.153s	false	null	17	28	5	0	-0.079	midi_only	03_09_13	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0007_track_15	6	03_09	15	Hi-Hat	Drums	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_16_hithat.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0007_track_15.wav	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_15_hithat.mid	142.205	163.153	20.948	false	true	Gone from rescue to recovery	Verse as Jams	combined	142.205	163.232	true	End aligned to Verse 2 boundary at 163.153s	false	null	17	28	5	0	-0.079	midi_only	03_09_15	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0007_track_17	6	03_09	17	Ride Cymbal	Drums	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_18_ride.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0007_track_17.wav	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_17_ride.mid	142.205	163.153	20.948	false	true	Gone from rescue to recovery	Verse as Jams	combined	142.205	163.232	true	End aligned to Verse 2 boundary at 163.153s	false	null	17	28	5	0	-0.079	midi_only	03_09_17	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0007_track_19	6	03_09	19	Crash Cymbal	Drums	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_20crash.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0007_track_19.wav	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_19_crash.mid	142.205	163.153	20.948	false	true	Gone from rescue to recovery	Verse as Jams	combined	142.205	163.232	true	End aligned to Verse 2 boundary at 163.153s	false	null	17	28	5	0	-0.079	midi_only	03_09_19	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0007_track_21	6	03_09	21	Toms	Drums	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_22_toms.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0007_track_21.wav	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_21_toms.mid	142.205	163.153	20.948	false	true	Gone from rescue to recovery	Verse as Jams	combined	142.205	163.232	true	End aligned to Verse 2 boundary at 163.153s	false	null	17	28	5	0	-0.079	midi_only	03_09_21	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0007_track_23	6	03_09	23	GM Bass	Bass	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_23_gm_bass.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0007_track_23.wav	null	142.205	163.153	20.948	true	false	Gone from rescue to recovery	Verse as Jams	combined	142.205	163.232	true	End aligned to Verse 2 boundary at 163.153s	false	null	17	28	5	0	-0.079	audio_only	03_09_23	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0008_track_06	7	03_09	6	Turbo	Synths	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_06_turbo.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0008_track_06.wav	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_07_turbo.mid	163.153	168.031	4.878	true	false	Do you remember why we came here?	Verse 2	combined	163.232	168.031	true	Start aligned to Verse 2 boundary at 163.153s	false	null	19	33	7	-0.079	0	audio_only	03_09_6	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0008_track_08	7	03_09	8	Ebow Guitar	Guitars	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_08_ebow_07_as_midi.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0008_track_08.wav	null	163.153	168.031	4.878	true	false	Do you remember why we came here?	Verse 2	combined	163.232	168.031	true	Start aligned to Verse 2 boundary at 163.153s	false	null	19	33	7	-0.079	0	audio_only	03_09_8	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0008_track_09	7	03_09	9	Kick Drum	Drums	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_10_kick.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0008_track_09.wav	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_09_kick.mid	163.153	168.031	4.878	true	true	Do you remember why we came here?	Verse 2	combined	163.232	168.031	true	Start aligned to Verse 2 boundary at 163.153s	false	null	19	33	7	-0.079	0	audio_midi	03_09_9	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0008_track_11	7	03_09	11	Kick Drum 2	Drums	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_12_kick2.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0008_track_11.wav	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_11_kick2.mid	163.153	168.031	4.878	true	true	Do you remember why we came here?	Verse 2	combined	163.232	168.031	true	Start aligned to Verse 2 boundary at 163.153s	false	null	19	33	7	-0.079	0	audio_midi	03_09_11	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0008_track_13	7	03_09	13	Snare Drum	Drums	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_14_snare.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0008_track_13.wav	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_13_snare.mid	163.153	168.031	4.878	false	true	Do you remember why we came here?	Verse 2	combined	163.232	168.031	true	Start aligned to Verse 2 boundary at 163.153s	false	null	19	33	7	-0.079	0	midi_only	03_09_13	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0008_track_15	7	03_09	15	Hi-Hat	Drums	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_16_hithat.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0008_track_15.wav	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_15_hithat.mid	163.153	168.031	4.878	false	true	Do you remember why we came here?	Verse 2	combined	163.232	168.031	true	Start aligned to Verse 2 boundary at 163.153s	false	null	19	33	7	-0.079	0	midi_only	03_09_15	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0008_track_19	7	03_09	19	Crash Cymbal	Drums	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_20crash.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0008_track_19.wav	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_19_crash.mid	163.153	168.031	4.878	false	true	Do you remember why we came here?	Verse 2	combined	163.232	168.031	true	Start aligned to Verse 2 boundary at 163.153s	false	null	19	33	7	-0.079	0	midi_only	03_09_19	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0008_track_21	7	03_09	21	Toms	Drums	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_22_toms.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0008_track_21.wav	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_21_toms.mid	163.153	168.031	4.878	true	false	Do you remember why we came here?	Verse 2	combined	163.232	168.031	true	Start aligned to Verse 2 boundary at 163.153s	false	null	19	33	7	-0.079	0	audio_only	03_09_21	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0008_track_23	7	03_09	23	GM Bass	Bass	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_23_gm_bass.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0008_track_23.wav	null	163.153	168.031	4.878	true	false	Do you remember why we came here?	Verse 2	combined	163.232	168.031	true	Start aligned to Verse 2 boundary at 163.153s	false	null	19	33	7	-0.079	0	audio_only	03_09_23	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0009_track_09	8	03_09	9	Kick Drum	Drums	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_10_kick.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0009_track_09.wav	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_09_kick.mid	168.031	172.076	4.045	true	true	You never struck me as a sightseer.	Verse 2	combined	168.031	172.076	false		false	null	21	35	7	0	0	audio_midi	03_09_9	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0009_track_11	8	03_09	11	Kick Drum 2	Drums	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_12_kick2.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0009_track_11.wav	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_11_kick2.mid	168.031	172.076	4.045	true	true	You never struck me as a sightseer.	Verse 2	combined	168.031	172.076	false		false	null	21	35	7	0	0	audio_midi	03_09_11	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0009_track_13	8	03_09	13	Snare Drum	Drums	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_14_snare.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0009_track_13.wav	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_13_snare.mid	168.031	172.076	4.045	false	true	You never struck me as a sightseer.	Verse 2	combined	168.031	172.076	false		false	null	21	35	7	0	0	midi_only	03_09_13	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0009_track_15	8	03_09	15	Hi-Hat	Drums	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_16_hithat.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0009_track_15.wav	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_15_hithat.mid	168.031	172.076	4.045	false	true	You never struck me as a sightseer.	Verse 2	combined	168.031	172.076	false		false	null	21	35	7	0	0	midi_only	03_09_15	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0009_track_19	8	03_09	19	Crash Cymbal	Drums	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_20crash.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0009_track_19.wav	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_19_crash.mid	168.031	172.076	4.045	false	true	You never struck me as a sightseer.	Verse 2	combined	168.031	172.076	false		false	null	21	35	7	0	0	midi_only	03_09_19	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null
03_09_seg_0009_track_21	8	03_09	21	Toms	Drums	RainbowPlayer.GABE	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_22_toms.wav	/Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_09/03_09_seg_0009_track_21.wav	/Volumes/LucidNonsense/White/staged_raw_material/03_09/03_09_21_toms.mid	168.031	172.076	4.045	true	true	You never struck me as a sightseer.	Verse 2	combined	168.031	172.076	false		false	null	21	35	7	0	0	audio_midi	03_09_21	113	4	4	E	minor	Orange	Past	Thing	Imagined	null	Search Flares	2020-06-23T00:00:00	[04:36.022]	true	true	I’d be lying to you if I said I knew the way Why didn’t we keep with the group? Why did we have to stray? Let’s stop here for tonight They won’t get us, the cold just might Search flares are falling dark the perimeter has been marked There’s no more room for discovery Gone from rescue to recovery Do you remember why we came here? You never struck me as a sightseer. Well strike me down if I lie once more Until I lay on the forest floor Search flares are falling dark the perimeter has been marked Call it off, cancel the calvary Gone from rescue to recovery	Killing Joke, discogs_id: 13408, Nine Inch Nails, discogs_id: 3857, Christian Death, discogs_id: 94647	dark, desperate, chaotic, intense, aggressive, unsettling, eerie, haunting, frantic, brooding, ominous	Industrial, Alternative Rock, Metal, Experimental, Post-Punk, Noise, Gothic Rock	03_09.lrc	While trying to make a documentary about a concentration camp survivor, we got locked in the inner fortress of Theresienstadt in the Czech Republic. We had to scale the walls to escape through a former minefield. We were lost and trying to our way back to town and felt very alone and disoriented by horror of the place. This song captures that feeling of being lost in a dark and frightening place, with the industrial/metal sound reflecting the harshness of the environment and the panic of being lost. The item lost and misremembered was not a stone taken from the surrealist Robert Desnos memorial but a vile of dirt I gave to Jayson Merritt upon returning.	{ "album_sequence": 3, "avg_word_length": 4.706896551724138, "boundary_fluidity_score": 0, "concept_length": 661, "discrepancy_intensity": 0, "exclamation_marks": 0, "has_rebracketing_markers": true, "memory_discrepancy_severity": 0, "narrative_complexity": 0.08620689655172413, "ontological_uncertainty": 0, "question_marks": 0, "rebracketing_coverage": 0.039473684210526314, "rebracketing_intensity": 6.896551724137931, "rebracketing_type": "spatial", "sentence_count": 5, "temporal_complexity_score": 0.08620689655172413, "track_duration": 276.022, "track_id": "03_09", "track_position": 9, "uncertainty_level": 0, "word_count": 116 }	Intro : Throbbing noise and alarm sounds create an unwelcoming atmosphere., [00:00.000]-[01:03.181] \| Verse 1 : An industrial/metal beat kicks in with obliterated guitar sounds and panicked vocals., [01:03.182]-[02:09.166] \| Chorus 1 : The chorus becomes slightly more melodic and straightforward, but still chaotic., [02:09.167]-[02:26.160] \| Verse as Jams : The verse returns with more intensity and layers of sounds. A ratchet-like synth line is introduced., [02:26.161]-[02:43.152] \| Verse 2 : The verse continues with more aggression and complexity culminating in a faux double-kick drum pattern., [02:43.153]-[03:00.164] \| Chorus 2 : The chorus returns with less chaos and more melody, but still retains the industrial/metal vibe., [03:00.165]-[03:17.171] \| Lost in the woods : Air raid sirens and alarm sounds can be heard way off in the distance., [03:17.172]-[03:34.160]	null

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