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 |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
07_11_seg_0014_track_04 | 13 | 07_11 | 4 | Snare | Drums | RainbowPlayer.GRAHAM | /Volumes/LucidNonsense/White/staged_raw_material/07_11/07_11_04_snare.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/07_11/07_11_seg_0014_track_04.wav | null | 121.008 | 124.008 | 3 | true | false | I get you, I forget you still don't like losing | Bridge | combined | 121.008 | 124.008 | false | false | null | 31 | 47 | 10 | 0 | 0 | audio_only | 07_11_4 | 135 | 4 | 4 | A | major | Indigo | null | null | Known, Forgotten | null | Avulsion Segue Yeg | 2024-06-04T00:00:00 | [03:36.022] | true | true | Say it in plain words, clear and simple terms Do not make them think, about any missing links Turn away let them all keep guessing By midday the sun will keep confessing They are bored by your games They abhor what's in your frames Turn away let them all keep guessing Don't display what they keep expressing Come what may but you keep progressing Turn away let them all keep guessing I hear you, I feel you it's already so confusing I see you, I need you to know we're still moving I feel you, I knew you before the theory's proving I get you, I get you, I forget you still don't like losing | Stereolab, discogs_id: 388, Neu!, discogs_id: 12636 | driving, expansive, energetic, hypnotic | kraut rock, indie rock, electronic, post-rock | 07_11.lrc | Possibly the most direct song in The Rainbow Table, of course about being indirect. This banger ends Infranyms with the anthemic 'Let them all keep guessing' - It acknowledges a potential listener's frustration with the puzzles and 'gimmicks' but ultimately encourages them to embrace the chaos and keep moving forward regardless. | {
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} | Forward : The driving motorik beat is at once cliche and the purest Earthly Frames vibe, [00:00.000]-[00:28.011] | Verse : The verse dies down for a bit, [00:28.012]-[00:42.016] | Chorus : Then the chorus is an overwhelming layered blast of cryptic energy, [00:42.017]-[01:11.002] | Direct to Consumer : The vocals directly address the listener's frustration with the puzzles and 'gimmicks', [01:11.003]-[01:39.013] | Bridge : A build up of synths and drums, [01:39.014]-[02:08.000] | Forward Assault : Full on kraut-rock blast, [02:08.001]-[02:22.005] | Infranym : A secret message, [02:22.006]-[03:36.022] | null | |
07_11_seg_0014_track_08 | 13 | 07_11 | 8 | Bass | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/07_11/07_11_08_bass.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/07_11/07_11_seg_0014_track_08.wav | null | 121.008 | 124.008 | 3 | true | false | I get you, I forget you still don't like losing | Bridge | combined | 121.008 | 124.008 | false | false | null | 31 | 47 | 10 | 0 | 0 | audio_only | 07_11_8 | 135 | 4 | 4 | A | major | Indigo | null | null | Known, Forgotten | null | Avulsion Segue Yeg | 2024-06-04T00:00:00 | [03:36.022] | true | true | Say it in plain words, clear and simple terms Do not make them think, about any missing links Turn away let them all keep guessing By midday the sun will keep confessing They are bored by your games They abhor what's in your frames Turn away let them all keep guessing Don't display what they keep expressing Come what may but you keep progressing Turn away let them all keep guessing I hear you, I feel you it's already so confusing I see you, I need you to know we're still moving I feel you, I knew you before the theory's proving I get you, I get you, I forget you still don't like losing | Stereolab, discogs_id: 388, Neu!, discogs_id: 12636 | driving, expansive, energetic, hypnotic | kraut rock, indie rock, electronic, post-rock | 07_11.lrc | Possibly the most direct song in The Rainbow Table, of course about being indirect. This banger ends Infranyms with the anthemic 'Let them all keep guessing' - It acknowledges a potential listener's frustration with the puzzles and 'gimmicks' but ultimately encourages them to embrace the chaos and keep moving forward regardless. | {
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} | Forward : The driving motorik beat is at once cliche and the purest Earthly Frames vibe, [00:00.000]-[00:28.011] | Verse : The verse dies down for a bit, [00:28.012]-[00:42.016] | Chorus : Then the chorus is an overwhelming layered blast of cryptic energy, [00:42.017]-[01:11.002] | Direct to Consumer : The vocals directly address the listener's frustration with the puzzles and 'gimmicks', [01:11.003]-[01:39.013] | Bridge : A build up of synths and drums, [01:39.014]-[02:08.000] | Forward Assault : Full on kraut-rock blast, [02:08.001]-[02:22.005] | Infranym : A secret message, [02:22.006]-[03:36.022] | null | |
07_11_seg_0014_track_11 | 13 | 07_11 | 11 | Vocal 1 | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/07_11/07_11_11_vox_1.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/07_11/07_11_seg_0014_track_11.wav | null | 121.008 | 124.008 | 3 | true | false | I get you, I forget you still don't like losing | Bridge | combined | 121.008 | 124.008 | false | false | null | 31 | 47 | 10 | 0 | 0 | audio_only | 07_11_11 | 135 | 4 | 4 | A | major | Indigo | null | null | Known, Forgotten | null | Avulsion Segue Yeg | 2024-06-04T00:00:00 | [03:36.022] | true | true | Say it in plain words, clear and simple terms Do not make them think, about any missing links Turn away let them all keep guessing By midday the sun will keep confessing They are bored by your games They abhor what's in your frames Turn away let them all keep guessing Don't display what they keep expressing Come what may but you keep progressing Turn away let them all keep guessing I hear you, I feel you it's already so confusing I see you, I need you to know we're still moving I feel you, I knew you before the theory's proving I get you, I get you, I forget you still don't like losing | Stereolab, discogs_id: 388, Neu!, discogs_id: 12636 | driving, expansive, energetic, hypnotic | kraut rock, indie rock, electronic, post-rock | 07_11.lrc | Possibly the most direct song in The Rainbow Table, of course about being indirect. This banger ends Infranyms with the anthemic 'Let them all keep guessing' - It acknowledges a potential listener's frustration with the puzzles and 'gimmicks' but ultimately encourages them to embrace the chaos and keep moving forward regardless. | {
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} | Forward : The driving motorik beat is at once cliche and the purest Earthly Frames vibe, [00:00.000]-[00:28.011] | Verse : The verse dies down for a bit, [00:28.012]-[00:42.016] | Chorus : Then the chorus is an overwhelming layered blast of cryptic energy, [00:42.017]-[01:11.002] | Direct to Consumer : The vocals directly address the listener's frustration with the puzzles and 'gimmicks', [01:11.003]-[01:39.013] | Bridge : A build up of synths and drums, [01:39.014]-[02:08.000] | Forward Assault : Full on kraut-rock blast, [02:08.001]-[02:22.005] | Infranym : A secret message, [02:22.006]-[03:36.022] | null | |
07_11_seg_0014_track_18 | 13 | 07_11 | 18 | Arp | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/07_11/07_11_19_arp.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/07_11/07_11_seg_0014_track_18.wav | /Volumes/LucidNonsense/White/staged_raw_material/07_11/07_11_18_arp.mid | 121.008 | 124.008 | 3 | true | true | I get you, I forget you still don't like losing | Bridge | combined | 121.008 | 124.008 | false | false | null | 31 | 47 | 10 | 0 | 0 | audio_midi | 07_11_18 | 135 | 4 | 4 | A | major | Indigo | null | null | Known, Forgotten | null | Avulsion Segue Yeg | 2024-06-04T00:00:00 | [03:36.022] | true | true | Say it in plain words, clear and simple terms Do not make them think, about any missing links Turn away let them all keep guessing By midday the sun will keep confessing They are bored by your games They abhor what's in your frames Turn away let them all keep guessing Don't display what they keep expressing Come what may but you keep progressing Turn away let them all keep guessing I hear you, I feel you it's already so confusing I see you, I need you to know we're still moving I feel you, I knew you before the theory's proving I get you, I get you, I forget you still don't like losing | Stereolab, discogs_id: 388, Neu!, discogs_id: 12636 | driving, expansive, energetic, hypnotic | kraut rock, indie rock, electronic, post-rock | 07_11.lrc | Possibly the most direct song in The Rainbow Table, of course about being indirect. This banger ends Infranyms with the anthemic 'Let them all keep guessing' - It acknowledges a potential listener's frustration with the puzzles and 'gimmicks' but ultimately encourages them to embrace the chaos and keep moving forward regardless. | {
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} | Forward : The driving motorik beat is at once cliche and the purest Earthly Frames vibe, [00:00.000]-[00:28.011] | Verse : The verse dies down for a bit, [00:28.012]-[00:42.016] | Chorus : Then the chorus is an overwhelming layered blast of cryptic energy, [00:42.017]-[01:11.002] | Direct to Consumer : The vocals directly address the listener's frustration with the puzzles and 'gimmicks', [01:11.003]-[01:39.013] | Bridge : A build up of synths and drums, [01:39.014]-[02:08.000] | Forward Assault : Full on kraut-rock blast, [02:08.001]-[02:22.005] | Infranym : A secret message, [02:22.006]-[03:36.022] | null | |
07_11_seg_0014_track_19 | 13 | 07_11 | 19 | SEM Synth | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/07_11/07_11_21_sem.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/07_11/07_11_seg_0014_track_19.wav | /Volumes/LucidNonsense/White/staged_raw_material/07_11/07_11_20_sem.mid | 121.008 | 124.008 | 3 | false | true | I get you, I forget you still don't like losing | Bridge | combined | 121.008 | 124.008 | false | false | null | 31 | 47 | 10 | 0 | 0 | midi_only | 07_11_19 | 135 | 4 | 4 | A | major | Indigo | null | null | Known, Forgotten | null | Avulsion Segue Yeg | 2024-06-04T00:00:00 | [03:36.022] | true | true | Say it in plain words, clear and simple terms Do not make them think, about any missing links Turn away let them all keep guessing By midday the sun will keep confessing They are bored by your games They abhor what's in your frames Turn away let them all keep guessing Don't display what they keep expressing Come what may but you keep progressing Turn away let them all keep guessing I hear you, I feel you it's already so confusing I see you, I need you to know we're still moving I feel you, I knew you before the theory's proving I get you, I get you, I forget you still don't like losing | Stereolab, discogs_id: 388, Neu!, discogs_id: 12636 | driving, expansive, energetic, hypnotic | kraut rock, indie rock, electronic, post-rock | 07_11.lrc | Possibly the most direct song in The Rainbow Table, of course about being indirect. This banger ends Infranyms with the anthemic 'Let them all keep guessing' - It acknowledges a potential listener's frustration with the puzzles and 'gimmicks' but ultimately encourages them to embrace the chaos and keep moving forward regardless. | {
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} | Forward : The driving motorik beat is at once cliche and the purest Earthly Frames vibe, [00:00.000]-[00:28.011] | Verse : The verse dies down for a bit, [00:28.012]-[00:42.016] | Chorus : Then the chorus is an overwhelming layered blast of cryptic energy, [00:42.017]-[01:11.002] | Direct to Consumer : The vocals directly address the listener's frustration with the puzzles and 'gimmicks', [01:11.003]-[01:39.013] | Bridge : A build up of synths and drums, [01:39.014]-[02:08.000] | Forward Assault : Full on kraut-rock blast, [02:08.001]-[02:22.005] | Infranym : A secret message, [02:22.006]-[03:36.022] | null | |
08_01_seg_0001_track_02 | 0 | 08_01 | 2 | Synth Bass | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/08_01/08_01_03_synth_bass.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/08_01/08_01_seg_0001_track_02.wav | /Volumes/LucidNonsense/White/staged_raw_material/08_01/08_01_02_synth_bass.mid | 16.02 | 29.01 | 12.99 | true | true | Thought it was you, now changed. I'm afraid that I almost called out your deadname | Verse 1 | combined | 16.02 | 29.01 | false | false | null | 5 | 82 | 15 | 0 | 0 | audio_midi | 08_01_2 | 100 | 4 | 4 | C | minor | Violet | Present | Person | Known | null | Thought Rays | 2025-09-08T00:00:00 | [02:58.014] | true | true | Thought it was you, now changed. I'm afraid that I almost called out your deadname I am sending out thought rays into the night's empty star Unmounted trophies, heads down now asleep at the bar Pushing aside, there is no more hiding yourself in the shade Now all alight, that new you has us all walking on the blade I am sending out thought rays into the night's empty star Discontent enrollees, beg you to step out towards the car Ran lines are crossed out us both reading for the same part once again What's it about both losing ourselves to oneself in the end | Sabrina Carpenter, discogs_id: 4378284, Billie Eilish, discogs_id: 5590213, Television, discogs_id: 254494 | catchy, psychedelic, creepy, sexy | pop, psychedelic rock | 08_01.lrc | A woman spots a childhood friend on the street post transition to a trans woman and a trans human. She uses her own implanted 'thought rays' to ping her friend with warnings about what happens to girls like them on the street. | {
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} | Drum intro : A drum machine and fake drum kit lay down a heavy beat, [00:00.000]-[00:04.020] | Verse 1 : A very radio friendly version of The Earthly Frames starts and its joined by Shirley Kidurka's smooth, alto voice we know that this is oddly a commercial version of The Earthly Frames. Still there's something unsettling about the tempo, instrumentation and lyrics., [00:04.021]-[00:26.010] | Chorus 1 : A quick jump to a banger of a chorus with traces of Infranym's vocoder buried in the mix., [00:26.011]-[00:48.000] | Verse 2 : The song returns to the verse, a bit more minimal, [00:48.001]-[01:12.000] | Interlude : A watery roto-speaker organ and guitar give us a short moment of psych rock signifiers, [01:12.001]-[01:31.005] | Chorus 2 : Back to the chorus, [01:31.006]-[01:50.010] | Verse 3 : The song returns to the verse again, [01:50.011]-[02:14.010] | Bridge : Vocal improvs overlap a bridging instrumental section, [02:14.011]-[02:33.015] | Jams : A 70s, slithery guitar lead adds back a touch of rock to the pop song, [02:33.016]-[02:52.020] | Last notes : The final notes ring out, [02:52.021]-[02:58.014] | null | |
08_01_seg_0001_track_03 | 0 | 08_01 | 3 | Main Synth | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/08_01/08_01_05_main_synth.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/08_01/08_01_seg_0001_track_03.wav | /Volumes/LucidNonsense/White/staged_raw_material/08_01/08_01_04_main_synth.mid | 16.02 | 29.01 | 12.99 | false | true | Thought it was you, now changed. I'm afraid that I almost called out your deadname | Verse 1 | combined | 16.02 | 29.01 | false | false | null | 5 | 82 | 15 | 0 | 0 | midi_only | 08_01_3 | 100 | 4 | 4 | C | minor | Violet | Present | Person | Known | null | Thought Rays | 2025-09-08T00:00:00 | [02:58.014] | true | true | Thought it was you, now changed. I'm afraid that I almost called out your deadname I am sending out thought rays into the night's empty star Unmounted trophies, heads down now asleep at the bar Pushing aside, there is no more hiding yourself in the shade Now all alight, that new you has us all walking on the blade I am sending out thought rays into the night's empty star Discontent enrollees, beg you to step out towards the car Ran lines are crossed out us both reading for the same part once again What's it about both losing ourselves to oneself in the end | Sabrina Carpenter, discogs_id: 4378284, Billie Eilish, discogs_id: 5590213, Television, discogs_id: 254494 | catchy, psychedelic, creepy, sexy | pop, psychedelic rock | 08_01.lrc | A woman spots a childhood friend on the street post transition to a trans woman and a trans human. She uses her own implanted 'thought rays' to ping her friend with warnings about what happens to girls like them on the street. | {
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} | Drum intro : A drum machine and fake drum kit lay down a heavy beat, [00:00.000]-[00:04.020] | Verse 1 : A very radio friendly version of The Earthly Frames starts and its joined by Shirley Kidurka's smooth, alto voice we know that this is oddly a commercial version of The Earthly Frames. Still there's something unsettling about the tempo, instrumentation and lyrics., [00:04.021]-[00:26.010] | Chorus 1 : A quick jump to a banger of a chorus with traces of Infranym's vocoder buried in the mix., [00:26.011]-[00:48.000] | Verse 2 : The song returns to the verse, a bit more minimal, [00:48.001]-[01:12.000] | Interlude : A watery roto-speaker organ and guitar give us a short moment of psych rock signifiers, [01:12.001]-[01:31.005] | Chorus 2 : Back to the chorus, [01:31.006]-[01:50.010] | Verse 3 : The song returns to the verse again, [01:50.011]-[02:14.010] | Bridge : Vocal improvs overlap a bridging instrumental section, [02:14.011]-[02:33.015] | Jams : A 70s, slithery guitar lead adds back a touch of rock to the pop song, [02:33.016]-[02:52.020] | Last notes : The final notes ring out, [02:52.021]-[02:58.014] | null | |
08_01_seg_0001_track_06 | 0 | 08_01 | 6 | Drum Machine | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/08_01/08_01_09_drums.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/08_01/08_01_seg_0001_track_06.wav | /Volumes/LucidNonsense/White/staged_raw_material/08_01/08_01_08_drums.mid | 16.02 | 29.01 | 12.99 | true | true | Thought it was you, now changed. I'm afraid that I almost called out your deadname | Verse 1 | combined | 16.02 | 29.01 | false | false | null | 5 | 82 | 15 | 0 | 0 | audio_midi | 08_01_6 | 100 | 4 | 4 | C | minor | Violet | Present | Person | Known | null | Thought Rays | 2025-09-08T00:00:00 | [02:58.014] | true | true | Thought it was you, now changed. I'm afraid that I almost called out your deadname I am sending out thought rays into the night's empty star Unmounted trophies, heads down now asleep at the bar Pushing aside, there is no more hiding yourself in the shade Now all alight, that new you has us all walking on the blade I am sending out thought rays into the night's empty star Discontent enrollees, beg you to step out towards the car Ran lines are crossed out us both reading for the same part once again What's it about both losing ourselves to oneself in the end | Sabrina Carpenter, discogs_id: 4378284, Billie Eilish, discogs_id: 5590213, Television, discogs_id: 254494 | catchy, psychedelic, creepy, sexy | pop, psychedelic rock | 08_01.lrc | A woman spots a childhood friend on the street post transition to a trans woman and a trans human. She uses her own implanted 'thought rays' to ping her friend with warnings about what happens to girls like them on the street. | {
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} | Drum intro : A drum machine and fake drum kit lay down a heavy beat, [00:00.000]-[00:04.020] | Verse 1 : A very radio friendly version of The Earthly Frames starts and its joined by Shirley Kidurka's smooth, alto voice we know that this is oddly a commercial version of The Earthly Frames. Still there's something unsettling about the tempo, instrumentation and lyrics., [00:04.021]-[00:26.010] | Chorus 1 : A quick jump to a banger of a chorus with traces of Infranym's vocoder buried in the mix., [00:26.011]-[00:48.000] | Verse 2 : The song returns to the verse, a bit more minimal, [00:48.001]-[01:12.000] | Interlude : A watery roto-speaker organ and guitar give us a short moment of psych rock signifiers, [01:12.001]-[01:31.005] | Chorus 2 : Back to the chorus, [01:31.006]-[01:50.010] | Verse 3 : The song returns to the verse again, [01:50.011]-[02:14.010] | Bridge : Vocal improvs overlap a bridging instrumental section, [02:14.011]-[02:33.015] | Jams : A 70s, slithery guitar lead adds back a touch of rock to the pop song, [02:33.016]-[02:52.020] | Last notes : The final notes ring out, [02:52.021]-[02:58.014] | null | |
08_01_seg_0001_track_08 | 0 | 08_01 | 8 | Faux Kit | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/08_01/08_01_13_faux_kit.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/08_01/08_01_seg_0001_track_08.wav | /Volumes/LucidNonsense/White/staged_raw_material/08_01/08_01_12_faux_kit.mid | 16.02 | 29.01 | 12.99 | true | true | Thought it was you, now changed. I'm afraid that I almost called out your deadname | Verse 1 | combined | 16.02 | 29.01 | false | false | null | 5 | 82 | 15 | 0 | 0 | audio_midi | 08_01_8 | 100 | 4 | 4 | C | minor | Violet | Present | Person | Known | null | Thought Rays | 2025-09-08T00:00:00 | [02:58.014] | true | true | Thought it was you, now changed. I'm afraid that I almost called out your deadname I am sending out thought rays into the night's empty star Unmounted trophies, heads down now asleep at the bar Pushing aside, there is no more hiding yourself in the shade Now all alight, that new you has us all walking on the blade I am sending out thought rays into the night's empty star Discontent enrollees, beg you to step out towards the car Ran lines are crossed out us both reading for the same part once again What's it about both losing ourselves to oneself in the end | Sabrina Carpenter, discogs_id: 4378284, Billie Eilish, discogs_id: 5590213, Television, discogs_id: 254494 | catchy, psychedelic, creepy, sexy | pop, psychedelic rock | 08_01.lrc | A woman spots a childhood friend on the street post transition to a trans woman and a trans human. She uses her own implanted 'thought rays' to ping her friend with warnings about what happens to girls like them on the street. | {
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} | Drum intro : A drum machine and fake drum kit lay down a heavy beat, [00:00.000]-[00:04.020] | Verse 1 : A very radio friendly version of The Earthly Frames starts and its joined by Shirley Kidurka's smooth, alto voice we know that this is oddly a commercial version of The Earthly Frames. Still there's something unsettling about the tempo, instrumentation and lyrics., [00:04.021]-[00:26.010] | Chorus 1 : A quick jump to a banger of a chorus with traces of Infranym's vocoder buried in the mix., [00:26.011]-[00:48.000] | Verse 2 : The song returns to the verse, a bit more minimal, [00:48.001]-[01:12.000] | Interlude : A watery roto-speaker organ and guitar give us a short moment of psych rock signifiers, [01:12.001]-[01:31.005] | Chorus 2 : Back to the chorus, [01:31.006]-[01:50.010] | Verse 3 : The song returns to the verse again, [01:50.011]-[02:14.010] | Bridge : Vocal improvs overlap a bridging instrumental section, [02:14.011]-[02:33.015] | Jams : A 70s, slithery guitar lead adds back a touch of rock to the pop song, [02:33.016]-[02:52.020] | Last notes : The final notes ring out, [02:52.021]-[02:58.014] | null | |
08_01_seg_0001_track_09 | 0 | 08_01 | 9 | Pad Synth | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/08_01/08_01_15_pad.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/08_01/08_01_seg_0001_track_09.wav | /Volumes/LucidNonsense/White/staged_raw_material/08_01/08_01_14_pad.mid | 16.02 | 29.01 | 12.99 | false | true | Thought it was you, now changed. I'm afraid that I almost called out your deadname | Verse 1 | combined | 16.02 | 29.01 | false | false | null | 5 | 82 | 15 | 0 | 0 | midi_only | 08_01_9 | 100 | 4 | 4 | C | minor | Violet | Present | Person | Known | null | Thought Rays | 2025-09-08T00:00:00 | [02:58.014] | true | true | Thought it was you, now changed. I'm afraid that I almost called out your deadname I am sending out thought rays into the night's empty star Unmounted trophies, heads down now asleep at the bar Pushing aside, there is no more hiding yourself in the shade Now all alight, that new you has us all walking on the blade I am sending out thought rays into the night's empty star Discontent enrollees, beg you to step out towards the car Ran lines are crossed out us both reading for the same part once again What's it about both losing ourselves to oneself in the end | Sabrina Carpenter, discogs_id: 4378284, Billie Eilish, discogs_id: 5590213, Television, discogs_id: 254494 | catchy, psychedelic, creepy, sexy | pop, psychedelic rock | 08_01.lrc | A woman spots a childhood friend on the street post transition to a trans woman and a trans human. She uses her own implanted 'thought rays' to ping her friend with warnings about what happens to girls like them on the street. | {
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} | Drum intro : A drum machine and fake drum kit lay down a heavy beat, [00:00.000]-[00:04.020] | Verse 1 : A very radio friendly version of The Earthly Frames starts and its joined by Shirley Kidurka's smooth, alto voice we know that this is oddly a commercial version of The Earthly Frames. Still there's something unsettling about the tempo, instrumentation and lyrics., [00:04.021]-[00:26.010] | Chorus 1 : A quick jump to a banger of a chorus with traces of Infranym's vocoder buried in the mix., [00:26.011]-[00:48.000] | Verse 2 : The song returns to the verse, a bit more minimal, [00:48.001]-[01:12.000] | Interlude : A watery roto-speaker organ and guitar give us a short moment of psych rock signifiers, [01:12.001]-[01:31.005] | Chorus 2 : Back to the chorus, [01:31.006]-[01:50.010] | Verse 3 : The song returns to the verse again, [01:50.011]-[02:14.010] | Bridge : Vocal improvs overlap a bridging instrumental section, [02:14.011]-[02:33.015] | Jams : A 70s, slithery guitar lead adds back a touch of rock to the pop song, [02:33.016]-[02:52.020] | Last notes : The final notes ring out, [02:52.021]-[02:58.014] | null | |
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} | Drum intro : A drum machine and fake drum kit lay down a heavy beat, [00:00.000]-[00:04.020] | Verse 1 : A very radio friendly version of The Earthly Frames starts and its joined by Shirley Kidurka's smooth, alto voice we know that this is oddly a commercial version of The Earthly Frames. Still there's something unsettling about the tempo, instrumentation and lyrics., [00:04.021]-[00:26.010] | Chorus 1 : A quick jump to a banger of a chorus with traces of Infranym's vocoder buried in the mix., [00:26.011]-[00:48.000] | Verse 2 : The song returns to the verse, a bit more minimal, [00:48.001]-[01:12.000] | Interlude : A watery roto-speaker organ and guitar give us a short moment of psych rock signifiers, [01:12.001]-[01:31.005] | Chorus 2 : Back to the chorus, [01:31.006]-[01:50.010] | Verse 3 : The song returns to the verse again, [01:50.011]-[02:14.010] | Bridge : Vocal improvs overlap a bridging instrumental section, [02:14.011]-[02:33.015] | Jams : A 70s, slithery guitar lead adds back a touch of rock to the pop song, [02:33.016]-[02:52.020] | Last notes : The final notes ring out, [02:52.021]-[02:58.014] | null | |
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} | Drum intro : A drum machine and fake drum kit lay down a heavy beat, [00:00.000]-[00:04.020] | Verse 1 : A very radio friendly version of The Earthly Frames starts and its joined by Shirley Kidurka's smooth, alto voice we know that this is oddly a commercial version of The Earthly Frames. Still there's something unsettling about the tempo, instrumentation and lyrics., [00:04.021]-[00:26.010] | Chorus 1 : A quick jump to a banger of a chorus with traces of Infranym's vocoder buried in the mix., [00:26.011]-[00:48.000] | Verse 2 : The song returns to the verse, a bit more minimal, [00:48.001]-[01:12.000] | Interlude : A watery roto-speaker organ and guitar give us a short moment of psych rock signifiers, [01:12.001]-[01:31.005] | Chorus 2 : Back to the chorus, [01:31.006]-[01:50.010] | Verse 3 : The song returns to the verse again, [01:50.011]-[02:14.010] | Bridge : Vocal improvs overlap a bridging instrumental section, [02:14.011]-[02:33.015] | Jams : A 70s, slithery guitar lead adds back a touch of rock to the pop song, [02:33.016]-[02:52.020] | Last notes : The final notes ring out, [02:52.021]-[02:58.014] | null | |
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} | Drum intro : A drum machine and fake drum kit lay down a heavy beat, [00:00.000]-[00:04.020] | Verse 1 : A very radio friendly version of The Earthly Frames starts and its joined by Shirley Kidurka's smooth, alto voice we know that this is oddly a commercial version of The Earthly Frames. Still there's something unsettling about the tempo, instrumentation and lyrics., [00:04.021]-[00:26.010] | Chorus 1 : A quick jump to a banger of a chorus with traces of Infranym's vocoder buried in the mix., [00:26.011]-[00:48.000] | Verse 2 : The song returns to the verse, a bit more minimal, [00:48.001]-[01:12.000] | Interlude : A watery roto-speaker organ and guitar give us a short moment of psych rock signifiers, [01:12.001]-[01:31.005] | Chorus 2 : Back to the chorus, [01:31.006]-[01:50.010] | Verse 3 : The song returns to the verse again, [01:50.011]-[02:14.010] | Bridge : Vocal improvs overlap a bridging instrumental section, [02:14.011]-[02:33.015] | Jams : A 70s, slithery guitar lead adds back a touch of rock to the pop song, [02:33.016]-[02:52.020] | Last notes : The final notes ring out, [02:52.021]-[02:58.014] | null | |
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} | Drum intro : A drum machine and fake drum kit lay down a heavy beat, [00:00.000]-[00:04.020] | Verse 1 : A very radio friendly version of The Earthly Frames starts and its joined by Shirley Kidurka's smooth, alto voice we know that this is oddly a commercial version of The Earthly Frames. Still there's something unsettling about the tempo, instrumentation and lyrics., [00:04.021]-[00:26.010] | Chorus 1 : A quick jump to a banger of a chorus with traces of Infranym's vocoder buried in the mix., [00:26.011]-[00:48.000] | Verse 2 : The song returns to the verse, a bit more minimal, [00:48.001]-[01:12.000] | Interlude : A watery roto-speaker organ and guitar give us a short moment of psych rock signifiers, [01:12.001]-[01:31.005] | Chorus 2 : Back to the chorus, [01:31.006]-[01:50.010] | Verse 3 : The song returns to the verse again, [01:50.011]-[02:14.010] | Bridge : Vocal improvs overlap a bridging instrumental section, [02:14.011]-[02:33.015] | Jams : A 70s, slithery guitar lead adds back a touch of rock to the pop song, [02:33.016]-[02:52.020] | Last notes : The final notes ring out, [02:52.021]-[02:58.014] | null | |
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} | Drum intro : A drum machine and fake drum kit lay down a heavy beat, [00:00.000]-[00:04.020] | Verse 1 : A very radio friendly version of The Earthly Frames starts and its joined by Shirley Kidurka's smooth, alto voice we know that this is oddly a commercial version of The Earthly Frames. Still there's something unsettling about the tempo, instrumentation and lyrics., [00:04.021]-[00:26.010] | Chorus 1 : A quick jump to a banger of a chorus with traces of Infranym's vocoder buried in the mix., [00:26.011]-[00:48.000] | Verse 2 : The song returns to the verse, a bit more minimal, [00:48.001]-[01:12.000] | Interlude : A watery roto-speaker organ and guitar give us a short moment of psych rock signifiers, [01:12.001]-[01:31.005] | Chorus 2 : Back to the chorus, [01:31.006]-[01:50.010] | Verse 3 : The song returns to the verse again, [01:50.011]-[02:14.010] | Bridge : Vocal improvs overlap a bridging instrumental section, [02:14.011]-[02:33.015] | Jams : A 70s, slithery guitar lead adds back a touch of rock to the pop song, [02:33.016]-[02:52.020] | Last notes : The final notes ring out, [02:52.021]-[02:58.014] | null | |
08_01_seg_0002_track_07 | 1 | 08_01 | 7 | Vocoder Vocal | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/08_01/08_01_11_vocoder.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/08_01/08_01_seg_0002_track_07.wav | /Volumes/LucidNonsense/White/staged_raw_material/08_01/08_01_10_vocoder.mid | 29.01 | 39 | 9.99 | false | true | I am sending out thought rays into the night's empty star | Chorus 1 | combined | 29.01 | 39 | false | false | null | 7 | 57 | 11 | 0 | 0 | midi_only | 08_01_7 | 100 | 4 | 4 | C | minor | Violet | Present | Person | Known | null | Thought Rays | 2025-09-08T00:00:00 | [02:58.014] | true | true | Thought it was you, now changed. I'm afraid that I almost called out your deadname I am sending out thought rays into the night's empty star Unmounted trophies, heads down now asleep at the bar Pushing aside, there is no more hiding yourself in the shade Now all alight, that new you has us all walking on the blade I am sending out thought rays into the night's empty star Discontent enrollees, beg you to step out towards the car Ran lines are crossed out us both reading for the same part once again What's it about both losing ourselves to oneself in the end | Sabrina Carpenter, discogs_id: 4378284, Billie Eilish, discogs_id: 5590213, Television, discogs_id: 254494 | catchy, psychedelic, creepy, sexy | pop, psychedelic rock | 08_01.lrc | A woman spots a childhood friend on the street post transition to a trans woman and a trans human. She uses her own implanted 'thought rays' to ping her friend with warnings about what happens to girls like them on the street. | {
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} | Drum intro : A drum machine and fake drum kit lay down a heavy beat, [00:00.000]-[00:04.020] | Verse 1 : A very radio friendly version of The Earthly Frames starts and its joined by Shirley Kidurka's smooth, alto voice we know that this is oddly a commercial version of The Earthly Frames. Still there's something unsettling about the tempo, instrumentation and lyrics., [00:04.021]-[00:26.010] | Chorus 1 : A quick jump to a banger of a chorus with traces of Infranym's vocoder buried in the mix., [00:26.011]-[00:48.000] | Verse 2 : The song returns to the verse, a bit more minimal, [00:48.001]-[01:12.000] | Interlude : A watery roto-speaker organ and guitar give us a short moment of psych rock signifiers, [01:12.001]-[01:31.005] | Chorus 2 : Back to the chorus, [01:31.006]-[01:50.010] | Verse 3 : The song returns to the verse again, [01:50.011]-[02:14.010] | Bridge : Vocal improvs overlap a bridging instrumental section, [02:14.011]-[02:33.015] | Jams : A 70s, slithery guitar lead adds back a touch of rock to the pop song, [02:33.016]-[02:52.020] | Last notes : The final notes ring out, [02:52.021]-[02:58.014] | null | |
08_01_seg_0002_track_08 | 1 | 08_01 | 8 | Faux Kit | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/08_01/08_01_13_faux_kit.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/08_01/08_01_seg_0002_track_08.wav | /Volumes/LucidNonsense/White/staged_raw_material/08_01/08_01_12_faux_kit.mid | 29.01 | 39 | 9.99 | true | true | I am sending out thought rays into the night's empty star | Chorus 1 | combined | 29.01 | 39 | false | false | null | 7 | 57 | 11 | 0 | 0 | audio_midi | 08_01_8 | 100 | 4 | 4 | C | minor | Violet | Present | Person | Known | null | Thought Rays | 2025-09-08T00:00:00 | [02:58.014] | true | true | Thought it was you, now changed. I'm afraid that I almost called out your deadname I am sending out thought rays into the night's empty star Unmounted trophies, heads down now asleep at the bar Pushing aside, there is no more hiding yourself in the shade Now all alight, that new you has us all walking on the blade I am sending out thought rays into the night's empty star Discontent enrollees, beg you to step out towards the car Ran lines are crossed out us both reading for the same part once again What's it about both losing ourselves to oneself in the end | Sabrina Carpenter, discogs_id: 4378284, Billie Eilish, discogs_id: 5590213, Television, discogs_id: 254494 | catchy, psychedelic, creepy, sexy | pop, psychedelic rock | 08_01.lrc | A woman spots a childhood friend on the street post transition to a trans woman and a trans human. She uses her own implanted 'thought rays' to ping her friend with warnings about what happens to girls like them on the street. | {
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} | Drum intro : A drum machine and fake drum kit lay down a heavy beat, [00:00.000]-[00:04.020] | Verse 1 : A very radio friendly version of The Earthly Frames starts and its joined by Shirley Kidurka's smooth, alto voice we know that this is oddly a commercial version of The Earthly Frames. Still there's something unsettling about the tempo, instrumentation and lyrics., [00:04.021]-[00:26.010] | Chorus 1 : A quick jump to a banger of a chorus with traces of Infranym's vocoder buried in the mix., [00:26.011]-[00:48.000] | Verse 2 : The song returns to the verse, a bit more minimal, [00:48.001]-[01:12.000] | Interlude : A watery roto-speaker organ and guitar give us a short moment of psych rock signifiers, [01:12.001]-[01:31.005] | Chorus 2 : Back to the chorus, [01:31.006]-[01:50.010] | Verse 3 : The song returns to the verse again, [01:50.011]-[02:14.010] | Bridge : Vocal improvs overlap a bridging instrumental section, [02:14.011]-[02:33.015] | Jams : A 70s, slithery guitar lead adds back a touch of rock to the pop song, [02:33.016]-[02:52.020] | Last notes : The final notes ring out, [02:52.021]-[02:58.014] | null | |
08_01_seg_0002_track_09 | 1 | 08_01 | 9 | Pad Synth | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/08_01/08_01_15_pad.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/08_01/08_01_seg_0002_track_09.wav | /Volumes/LucidNonsense/White/staged_raw_material/08_01/08_01_14_pad.mid | 29.01 | 39 | 9.99 | false | true | I am sending out thought rays into the night's empty star | Chorus 1 | combined | 29.01 | 39 | false | false | null | 7 | 57 | 11 | 0 | 0 | midi_only | 08_01_9 | 100 | 4 | 4 | C | minor | Violet | Present | Person | Known | null | Thought Rays | 2025-09-08T00:00:00 | [02:58.014] | true | true | Thought it was you, now changed. I'm afraid that I almost called out your deadname I am sending out thought rays into the night's empty star Unmounted trophies, heads down now asleep at the bar Pushing aside, there is no more hiding yourself in the shade Now all alight, that new you has us all walking on the blade I am sending out thought rays into the night's empty star Discontent enrollees, beg you to step out towards the car Ran lines are crossed out us both reading for the same part once again What's it about both losing ourselves to oneself in the end | Sabrina Carpenter, discogs_id: 4378284, Billie Eilish, discogs_id: 5590213, Television, discogs_id: 254494 | catchy, psychedelic, creepy, sexy | pop, psychedelic rock | 08_01.lrc | A woman spots a childhood friend on the street post transition to a trans woman and a trans human. She uses her own implanted 'thought rays' to ping her friend with warnings about what happens to girls like them on the street. | {
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} | Drum intro : A drum machine and fake drum kit lay down a heavy beat, [00:00.000]-[00:04.020] | Verse 1 : A very radio friendly version of The Earthly Frames starts and its joined by Shirley Kidurka's smooth, alto voice we know that this is oddly a commercial version of The Earthly Frames. Still there's something unsettling about the tempo, instrumentation and lyrics., [00:04.021]-[00:26.010] | Chorus 1 : A quick jump to a banger of a chorus with traces of Infranym's vocoder buried in the mix., [00:26.011]-[00:48.000] | Verse 2 : The song returns to the verse, a bit more minimal, [00:48.001]-[01:12.000] | Interlude : A watery roto-speaker organ and guitar give us a short moment of psych rock signifiers, [01:12.001]-[01:31.005] | Chorus 2 : Back to the chorus, [01:31.006]-[01:50.010] | Verse 3 : The song returns to the verse again, [01:50.011]-[02:14.010] | Bridge : Vocal improvs overlap a bridging instrumental section, [02:14.011]-[02:33.015] | Jams : A 70s, slithery guitar lead adds back a touch of rock to the pop song, [02:33.016]-[02:52.020] | Last notes : The final notes ring out, [02:52.021]-[02:58.014] | null | |
08_01_seg_0002_track_10 | 1 | 08_01 | 10 | Lead Vocal | null | RainbowPlayer.SHIRLEY | /Volumes/LucidNonsense/White/staged_raw_material/08_01/08_01_16_lead_vocal.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/08_01/08_01_seg_0002_track_10.wav | null | 29.01 | 39 | 9.99 | true | false | I am sending out thought rays into the night's empty star | Chorus 1 | combined | 29.01 | 39 | false | false | null | 7 | 57 | 11 | 0 | 0 | audio_only | 08_01_10 | 100 | 4 | 4 | C | minor | Violet | Present | Person | Known | null | Thought Rays | 2025-09-08T00:00:00 | [02:58.014] | true | true | Thought it was you, now changed. I'm afraid that I almost called out your deadname I am sending out thought rays into the night's empty star Unmounted trophies, heads down now asleep at the bar Pushing aside, there is no more hiding yourself in the shade Now all alight, that new you has us all walking on the blade I am sending out thought rays into the night's empty star Discontent enrollees, beg you to step out towards the car Ran lines are crossed out us both reading for the same part once again What's it about both losing ourselves to oneself in the end | Sabrina Carpenter, discogs_id: 4378284, Billie Eilish, discogs_id: 5590213, Television, discogs_id: 254494 | catchy, psychedelic, creepy, sexy | pop, psychedelic rock | 08_01.lrc | A woman spots a childhood friend on the street post transition to a trans woman and a trans human. She uses her own implanted 'thought rays' to ping her friend with warnings about what happens to girls like them on the street. | {
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} | Drum intro : A drum machine and fake drum kit lay down a heavy beat, [00:00.000]-[00:04.020] | Verse 1 : A very radio friendly version of The Earthly Frames starts and its joined by Shirley Kidurka's smooth, alto voice we know that this is oddly a commercial version of The Earthly Frames. Still there's something unsettling about the tempo, instrumentation and lyrics., [00:04.021]-[00:26.010] | Chorus 1 : A quick jump to a banger of a chorus with traces of Infranym's vocoder buried in the mix., [00:26.011]-[00:48.000] | Verse 2 : The song returns to the verse, a bit more minimal, [00:48.001]-[01:12.000] | Interlude : A watery roto-speaker organ and guitar give us a short moment of psych rock signifiers, [01:12.001]-[01:31.005] | Chorus 2 : Back to the chorus, [01:31.006]-[01:50.010] | Verse 3 : The song returns to the verse again, [01:50.011]-[02:14.010] | Bridge : Vocal improvs overlap a bridging instrumental section, [02:14.011]-[02:33.015] | Jams : A 70s, slithery guitar lead adds back a touch of rock to the pop song, [02:33.016]-[02:52.020] | Last notes : The final notes ring out, [02:52.021]-[02:58.014] | null | |
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} | Drum intro : A drum machine and fake drum kit lay down a heavy beat, [00:00.000]-[00:04.020] | Verse 1 : A very radio friendly version of The Earthly Frames starts and its joined by Shirley Kidurka's smooth, alto voice we know that this is oddly a commercial version of The Earthly Frames. Still there's something unsettling about the tempo, instrumentation and lyrics., [00:04.021]-[00:26.010] | Chorus 1 : A quick jump to a banger of a chorus with traces of Infranym's vocoder buried in the mix., [00:26.011]-[00:48.000] | Verse 2 : The song returns to the verse, a bit more minimal, [00:48.001]-[01:12.000] | Interlude : A watery roto-speaker organ and guitar give us a short moment of psych rock signifiers, [01:12.001]-[01:31.005] | Chorus 2 : Back to the chorus, [01:31.006]-[01:50.010] | Verse 3 : The song returns to the verse again, [01:50.011]-[02:14.010] | Bridge : Vocal improvs overlap a bridging instrumental section, [02:14.011]-[02:33.015] | Jams : A 70s, slithery guitar lead adds back a touch of rock to the pop song, [02:33.016]-[02:52.020] | Last notes : The final notes ring out, [02:52.021]-[02:58.014] | null |
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} | Drum intro : A drum machine and fake drum kit lay down a heavy beat, [00:00.000]-[00:04.020] | Verse 1 : A very radio friendly version of The Earthly Frames starts and its joined by Shirley Kidurka's smooth, alto voice we know that this is oddly a commercial version of The Earthly Frames. Still there's something unsettling about the tempo, instrumentation and lyrics., [00:04.021]-[00:26.010] | Chorus 1 : A quick jump to a banger of a chorus with traces of Infranym's vocoder buried in the mix., [00:26.011]-[00:48.000] | Verse 2 : The song returns to the verse, a bit more minimal, [00:48.001]-[01:12.000] | Interlude : A watery roto-speaker organ and guitar give us a short moment of psych rock signifiers, [01:12.001]-[01:31.005] | Chorus 2 : Back to the chorus, [01:31.006]-[01:50.010] | Verse 3 : The song returns to the verse again, [01:50.011]-[02:14.010] | Bridge : Vocal improvs overlap a bridging instrumental section, [02:14.011]-[02:33.015] | Jams : A 70s, slithery guitar lead adds back a touch of rock to the pop song, [02:33.016]-[02:52.020] | Last notes : The final notes ring out, [02:52.021]-[02:58.014] | null |
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} | Drum intro : A drum machine and fake drum kit lay down a heavy beat, [00:00.000]-[00:04.020] | Verse 1 : A very radio friendly version of The Earthly Frames starts and its joined by Shirley Kidurka's smooth, alto voice we know that this is oddly a commercial version of The Earthly Frames. Still there's something unsettling about the tempo, instrumentation and lyrics., [00:04.021]-[00:26.010] | Chorus 1 : A quick jump to a banger of a chorus with traces of Infranym's vocoder buried in the mix., [00:26.011]-[00:48.000] | Verse 2 : The song returns to the verse, a bit more minimal, [00:48.001]-[01:12.000] | Interlude : A watery roto-speaker organ and guitar give us a short moment of psych rock signifiers, [01:12.001]-[01:31.005] | Chorus 2 : Back to the chorus, [01:31.006]-[01:50.010] | Verse 3 : The song returns to the verse again, [01:50.011]-[02:14.010] | Bridge : Vocal improvs overlap a bridging instrumental section, [02:14.011]-[02:33.015] | Jams : A 70s, slithery guitar lead adds back a touch of rock to the pop song, [02:33.016]-[02:52.020] | Last notes : The final notes ring out, [02:52.021]-[02:58.014] | null |
08_01_seg_0003_track_08 | 2 | 08_01 | 8 | Faux Kit | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/08_01/08_01_13_faux_kit.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/08_01/08_01_seg_0003_track_08.wav | /Volumes/LucidNonsense/White/staged_raw_material/08_01/08_01_12_faux_kit.mid | 39 | 48 | 9 | true | true | Unmounted trophies, heads down now asleep at the bar | Chorus 1 | combined | 39 | 48 | true | End aligned to Chorus 1 boundary at 48.000s | false | null | 9 | 52 | 9 | 0 | 0 | audio_midi | 08_01_8 | 100 | 4 | 4 | C | minor | Violet | Present | Person | Known | null | Thought Rays | 2025-09-08T00:00:00 | [02:58.014] | true | true | Thought it was you, now changed. I'm afraid that I almost called out your deadname I am sending out thought rays into the night's empty star Unmounted trophies, heads down now asleep at the bar Pushing aside, there is no more hiding yourself in the shade Now all alight, that new you has us all walking on the blade I am sending out thought rays into the night's empty star Discontent enrollees, beg you to step out towards the car Ran lines are crossed out us both reading for the same part once again What's it about both losing ourselves to oneself in the end | Sabrina Carpenter, discogs_id: 4378284, Billie Eilish, discogs_id: 5590213, Television, discogs_id: 254494 | catchy, psychedelic, creepy, sexy | pop, psychedelic rock | 08_01.lrc | A woman spots a childhood friend on the street post transition to a trans woman and a trans human. She uses her own implanted 'thought rays' to ping her friend with warnings about what happens to girls like them on the street. | {
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} | Drum intro : A drum machine and fake drum kit lay down a heavy beat, [00:00.000]-[00:04.020] | Verse 1 : A very radio friendly version of The Earthly Frames starts and its joined by Shirley Kidurka's smooth, alto voice we know that this is oddly a commercial version of The Earthly Frames. Still there's something unsettling about the tempo, instrumentation and lyrics., [00:04.021]-[00:26.010] | Chorus 1 : A quick jump to a banger of a chorus with traces of Infranym's vocoder buried in the mix., [00:26.011]-[00:48.000] | Verse 2 : The song returns to the verse, a bit more minimal, [00:48.001]-[01:12.000] | Interlude : A watery roto-speaker organ and guitar give us a short moment of psych rock signifiers, [01:12.001]-[01:31.005] | Chorus 2 : Back to the chorus, [01:31.006]-[01:50.010] | Verse 3 : The song returns to the verse again, [01:50.011]-[02:14.010] | Bridge : Vocal improvs overlap a bridging instrumental section, [02:14.011]-[02:33.015] | Jams : A 70s, slithery guitar lead adds back a touch of rock to the pop song, [02:33.016]-[02:52.020] | Last notes : The final notes ring out, [02:52.021]-[02:58.014] | null |
08_01_seg_0003_track_09 | 2 | 08_01 | 9 | Pad Synth | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/08_01/08_01_15_pad.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/08_01/08_01_seg_0003_track_09.wav | /Volumes/LucidNonsense/White/staged_raw_material/08_01/08_01_14_pad.mid | 39 | 48 | 9 | false | true | Unmounted trophies, heads down now asleep at the bar | Chorus 1 | combined | 39 | 48 | true | End aligned to Chorus 1 boundary at 48.000s | false | null | 9 | 52 | 9 | 0 | 0 | midi_only | 08_01_9 | 100 | 4 | 4 | C | minor | Violet | Present | Person | Known | null | Thought Rays | 2025-09-08T00:00:00 | [02:58.014] | true | true | Thought it was you, now changed. I'm afraid that I almost called out your deadname I am sending out thought rays into the night's empty star Unmounted trophies, heads down now asleep at the bar Pushing aside, there is no more hiding yourself in the shade Now all alight, that new you has us all walking on the blade I am sending out thought rays into the night's empty star Discontent enrollees, beg you to step out towards the car Ran lines are crossed out us both reading for the same part once again What's it about both losing ourselves to oneself in the end | Sabrina Carpenter, discogs_id: 4378284, Billie Eilish, discogs_id: 5590213, Television, discogs_id: 254494 | catchy, psychedelic, creepy, sexy | pop, psychedelic rock | 08_01.lrc | A woman spots a childhood friend on the street post transition to a trans woman and a trans human. She uses her own implanted 'thought rays' to ping her friend with warnings about what happens to girls like them on the street. | {
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} | Drum intro : A drum machine and fake drum kit lay down a heavy beat, [00:00.000]-[00:04.020] | Verse 1 : A very radio friendly version of The Earthly Frames starts and its joined by Shirley Kidurka's smooth, alto voice we know that this is oddly a commercial version of The Earthly Frames. Still there's something unsettling about the tempo, instrumentation and lyrics., [00:04.021]-[00:26.010] | Chorus 1 : A quick jump to a banger of a chorus with traces of Infranym's vocoder buried in the mix., [00:26.011]-[00:48.000] | Verse 2 : The song returns to the verse, a bit more minimal, [00:48.001]-[01:12.000] | Interlude : A watery roto-speaker organ and guitar give us a short moment of psych rock signifiers, [01:12.001]-[01:31.005] | Chorus 2 : Back to the chorus, [01:31.006]-[01:50.010] | Verse 3 : The song returns to the verse again, [01:50.011]-[02:14.010] | Bridge : Vocal improvs overlap a bridging instrumental section, [02:14.011]-[02:33.015] | Jams : A 70s, slithery guitar lead adds back a touch of rock to the pop song, [02:33.016]-[02:52.020] | Last notes : The final notes ring out, [02:52.021]-[02:58.014] | null |
08_01_seg_0003_track_10 | 2 | 08_01 | 10 | Lead Vocal | null | RainbowPlayer.SHIRLEY | /Volumes/LucidNonsense/White/staged_raw_material/08_01/08_01_16_lead_vocal.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/08_01/08_01_seg_0003_track_10.wav | null | 39 | 48 | 9 | true | false | Unmounted trophies, heads down now asleep at the bar | Chorus 1 | combined | 39 | 48 | true | End aligned to Chorus 1 boundary at 48.000s | false | null | 9 | 52 | 9 | 0 | 0 | audio_only | 08_01_10 | 100 | 4 | 4 | C | minor | Violet | Present | Person | Known | null | Thought Rays | 2025-09-08T00:00:00 | [02:58.014] | true | true | Thought it was you, now changed. I'm afraid that I almost called out your deadname I am sending out thought rays into the night's empty star Unmounted trophies, heads down now asleep at the bar Pushing aside, there is no more hiding yourself in the shade Now all alight, that new you has us all walking on the blade I am sending out thought rays into the night's empty star Discontent enrollees, beg you to step out towards the car Ran lines are crossed out us both reading for the same part once again What's it about both losing ourselves to oneself in the end | Sabrina Carpenter, discogs_id: 4378284, Billie Eilish, discogs_id: 5590213, Television, discogs_id: 254494 | catchy, psychedelic, creepy, sexy | pop, psychedelic rock | 08_01.lrc | A woman spots a childhood friend on the street post transition to a trans woman and a trans human. She uses her own implanted 'thought rays' to ping her friend with warnings about what happens to girls like them on the street. | {
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} | Drum intro : A drum machine and fake drum kit lay down a heavy beat, [00:00.000]-[00:04.020] | Verse 1 : A very radio friendly version of The Earthly Frames starts and its joined by Shirley Kidurka's smooth, alto voice we know that this is oddly a commercial version of The Earthly Frames. Still there's something unsettling about the tempo, instrumentation and lyrics., [00:04.021]-[00:26.010] | Chorus 1 : A quick jump to a banger of a chorus with traces of Infranym's vocoder buried in the mix., [00:26.011]-[00:48.000] | Verse 2 : The song returns to the verse, a bit more minimal, [00:48.001]-[01:12.000] | Interlude : A watery roto-speaker organ and guitar give us a short moment of psych rock signifiers, [01:12.001]-[01:31.005] | Chorus 2 : Back to the chorus, [01:31.006]-[01:50.010] | Verse 3 : The song returns to the verse again, [01:50.011]-[02:14.010] | Bridge : Vocal improvs overlap a bridging instrumental section, [02:14.011]-[02:33.015] | Jams : A 70s, slithery guitar lead adds back a touch of rock to the pop song, [02:33.016]-[02:52.020] | Last notes : The final notes ring out, [02:52.021]-[02:58.014] | null |
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} | Drum intro : A drum machine and fake drum kit lay down a heavy beat, [00:00.000]-[00:04.020] | Verse 1 : A very radio friendly version of The Earthly Frames starts and its joined by Shirley Kidurka's smooth, alto voice we know that this is oddly a commercial version of The Earthly Frames. Still there's something unsettling about the tempo, instrumentation and lyrics., [00:04.021]-[00:26.010] | Chorus 1 : A quick jump to a banger of a chorus with traces of Infranym's vocoder buried in the mix., [00:26.011]-[00:48.000] | Verse 2 : The song returns to the verse, a bit more minimal, [00:48.001]-[01:12.000] | Interlude : A watery roto-speaker organ and guitar give us a short moment of psych rock signifiers, [01:12.001]-[01:31.005] | Chorus 2 : Back to the chorus, [01:31.006]-[01:50.010] | Verse 3 : The song returns to the verse again, [01:50.011]-[02:14.010] | Bridge : Vocal improvs overlap a bridging instrumental section, [02:14.011]-[02:33.015] | Jams : A 70s, slithery guitar lead adds back a touch of rock to the pop song, [02:33.016]-[02:52.020] | Last notes : The final notes ring out, [02:52.021]-[02:58.014] | null |
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} | Drum intro : A drum machine and fake drum kit lay down a heavy beat, [00:00.000]-[00:04.020] | Verse 1 : A very radio friendly version of The Earthly Frames starts and its joined by Shirley Kidurka's smooth, alto voice we know that this is oddly a commercial version of The Earthly Frames. Still there's something unsettling about the tempo, instrumentation and lyrics., [00:04.021]-[00:26.010] | Chorus 1 : A quick jump to a banger of a chorus with traces of Infranym's vocoder buried in the mix., [00:26.011]-[00:48.000] | Verse 2 : The song returns to the verse, a bit more minimal, [00:48.001]-[01:12.000] | Interlude : A watery roto-speaker organ and guitar give us a short moment of psych rock signifiers, [01:12.001]-[01:31.005] | Chorus 2 : Back to the chorus, [01:31.006]-[01:50.010] | Verse 3 : The song returns to the verse again, [01:50.011]-[02:14.010] | Bridge : Vocal improvs overlap a bridging instrumental section, [02:14.011]-[02:33.015] | Jams : A 70s, slithery guitar lead adds back a touch of rock to the pop song, [02:33.016]-[02:52.020] | Last notes : The final notes ring out, [02:52.021]-[02:58.014] | null |
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} | Drum intro : A drum machine and fake drum kit lay down a heavy beat, [00:00.000]-[00:04.020] | Verse 1 : A very radio friendly version of The Earthly Frames starts and its joined by Shirley Kidurka's smooth, alto voice we know that this is oddly a commercial version of The Earthly Frames. Still there's something unsettling about the tempo, instrumentation and lyrics., [00:04.021]-[00:26.010] | Chorus 1 : A quick jump to a banger of a chorus with traces of Infranym's vocoder buried in the mix., [00:26.011]-[00:48.000] | Verse 2 : The song returns to the verse, a bit more minimal, [00:48.001]-[01:12.000] | Interlude : A watery roto-speaker organ and guitar give us a short moment of psych rock signifiers, [01:12.001]-[01:31.005] | Chorus 2 : Back to the chorus, [01:31.006]-[01:50.010] | Verse 3 : The song returns to the verse again, [01:50.011]-[02:14.010] | Bridge : Vocal improvs overlap a bridging instrumental section, [02:14.011]-[02:33.015] | Jams : A 70s, slithery guitar lead adds back a touch of rock to the pop song, [02:33.016]-[02:52.020] | Last notes : The final notes ring out, [02:52.021]-[02:58.014] | null |
08_01_seg_0004_track_10 | 3 | 08_01 | 10 | Lead Vocal | null | RainbowPlayer.SHIRLEY | /Volumes/LucidNonsense/White/staged_raw_material/08_01/08_01_16_lead_vocal.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/08_01/08_01_seg_0004_track_10.wav | null | 48 | 59.021 | 11.021 | true | false | Pushing aside, there is no more hiding yourself in the shade | Verse 2 | combined | 48 | 59.021 | true | Start aligned to Chorus 1 boundary at 48.000s | false | null | 11 | 60 | 11 | 0 | 0 | audio_only | 08_01_10 | 100 | 4 | 4 | C | minor | Violet | Present | Person | Known | null | Thought Rays | 2025-09-08T00:00:00 | [02:58.014] | true | true | Thought it was you, now changed. I'm afraid that I almost called out your deadname I am sending out thought rays into the night's empty star Unmounted trophies, heads down now asleep at the bar Pushing aside, there is no more hiding yourself in the shade Now all alight, that new you has us all walking on the blade I am sending out thought rays into the night's empty star Discontent enrollees, beg you to step out towards the car Ran lines are crossed out us both reading for the same part once again What's it about both losing ourselves to oneself in the end | Sabrina Carpenter, discogs_id: 4378284, Billie Eilish, discogs_id: 5590213, Television, discogs_id: 254494 | catchy, psychedelic, creepy, sexy | pop, psychedelic rock | 08_01.lrc | A woman spots a childhood friend on the street post transition to a trans woman and a trans human. She uses her own implanted 'thought rays' to ping her friend with warnings about what happens to girls like them on the street. | {
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} | Drum intro : A drum machine and fake drum kit lay down a heavy beat, [00:00.000]-[00:04.020] | Verse 1 : A very radio friendly version of The Earthly Frames starts and its joined by Shirley Kidurka's smooth, alto voice we know that this is oddly a commercial version of The Earthly Frames. Still there's something unsettling about the tempo, instrumentation and lyrics., [00:04.021]-[00:26.010] | Chorus 1 : A quick jump to a banger of a chorus with traces of Infranym's vocoder buried in the mix., [00:26.011]-[00:48.000] | Verse 2 : The song returns to the verse, a bit more minimal, [00:48.001]-[01:12.000] | Interlude : A watery roto-speaker organ and guitar give us a short moment of psych rock signifiers, [01:12.001]-[01:31.005] | Chorus 2 : Back to the chorus, [01:31.006]-[01:50.010] | Verse 3 : The song returns to the verse again, [01:50.011]-[02:14.010] | Bridge : Vocal improvs overlap a bridging instrumental section, [02:14.011]-[02:33.015] | Jams : A 70s, slithery guitar lead adds back a touch of rock to the pop song, [02:33.016]-[02:52.020] | Last notes : The final notes ring out, [02:52.021]-[02:58.014] | null |
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} | Drum intro : A drum machine and fake drum kit lay down a heavy beat, [00:00.000]-[00:04.020] | Verse 1 : A very radio friendly version of The Earthly Frames starts and its joined by Shirley Kidurka's smooth, alto voice we know that this is oddly a commercial version of The Earthly Frames. Still there's something unsettling about the tempo, instrumentation and lyrics., [00:04.021]-[00:26.010] | Chorus 1 : A quick jump to a banger of a chorus with traces of Infranym's vocoder buried in the mix., [00:26.011]-[00:48.000] | Verse 2 : The song returns to the verse, a bit more minimal, [00:48.001]-[01:12.000] | Interlude : A watery roto-speaker organ and guitar give us a short moment of psych rock signifiers, [01:12.001]-[01:31.005] | Chorus 2 : Back to the chorus, [01:31.006]-[01:50.010] | Verse 3 : The song returns to the verse again, [01:50.011]-[02:14.010] | Bridge : Vocal improvs overlap a bridging instrumental section, [02:14.011]-[02:33.015] | Jams : A 70s, slithery guitar lead adds back a touch of rock to the pop song, [02:33.016]-[02:52.020] | Last notes : The final notes ring out, [02:52.021]-[02:58.014] | null |
08_01_seg_0005_track_03 | 4 | 08_01 | 3 | Main Synth | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/08_01/08_01_05_main_synth.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/08_01/08_01_seg_0005_track_03.wav | /Volumes/LucidNonsense/White/staged_raw_material/08_01/08_01_04_main_synth.mid | 59.021 | 89.021 | 30 | true | true | Now all alight, that new you has us all walking on the blade | Interlude | combined | 59.021 | 91.02 | true | End aligned to Chorus 2 boundary at 91.006s | true | 1/2 | 13 | 60 | 13 | 0 | -1.999 | audio_midi | 08_01_3 | 100 | 4 | 4 | C | minor | Violet | Present | Person | Known | null | Thought Rays | 2025-09-08T00:00:00 | [02:58.014] | true | true | Thought it was you, now changed. I'm afraid that I almost called out your deadname I am sending out thought rays into the night's empty star Unmounted trophies, heads down now asleep at the bar Pushing aside, there is no more hiding yourself in the shade Now all alight, that new you has us all walking on the blade I am sending out thought rays into the night's empty star Discontent enrollees, beg you to step out towards the car Ran lines are crossed out us both reading for the same part once again What's it about both losing ourselves to oneself in the end | Sabrina Carpenter, discogs_id: 4378284, Billie Eilish, discogs_id: 5590213, Television, discogs_id: 254494 | catchy, psychedelic, creepy, sexy | pop, psychedelic rock | 08_01.lrc | A woman spots a childhood friend on the street post transition to a trans woman and a trans human. She uses her own implanted 'thought rays' to ping her friend with warnings about what happens to girls like them on the street. | {
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} | Drum intro : A drum machine and fake drum kit lay down a heavy beat, [00:00.000]-[00:04.020] | Verse 1 : A very radio friendly version of The Earthly Frames starts and its joined by Shirley Kidurka's smooth, alto voice we know that this is oddly a commercial version of The Earthly Frames. Still there's something unsettling about the tempo, instrumentation and lyrics., [00:04.021]-[00:26.010] | Chorus 1 : A quick jump to a banger of a chorus with traces of Infranym's vocoder buried in the mix., [00:26.011]-[00:48.000] | Verse 2 : The song returns to the verse, a bit more minimal, [00:48.001]-[01:12.000] | Interlude : A watery roto-speaker organ and guitar give us a short moment of psych rock signifiers, [01:12.001]-[01:31.005] | Chorus 2 : Back to the chorus, [01:31.006]-[01:50.010] | Verse 3 : The song returns to the verse again, [01:50.011]-[02:14.010] | Bridge : Vocal improvs overlap a bridging instrumental section, [02:14.011]-[02:33.015] | Jams : A 70s, slithery guitar lead adds back a touch of rock to the pop song, [02:33.016]-[02:52.020] | Last notes : The final notes ring out, [02:52.021]-[02:58.014] | null |
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} | Drum intro : A drum machine and fake drum kit lay down a heavy beat, [00:00.000]-[00:04.020] | Verse 1 : A very radio friendly version of The Earthly Frames starts and its joined by Shirley Kidurka's smooth, alto voice we know that this is oddly a commercial version of The Earthly Frames. Still there's something unsettling about the tempo, instrumentation and lyrics., [00:04.021]-[00:26.010] | Chorus 1 : A quick jump to a banger of a chorus with traces of Infranym's vocoder buried in the mix., [00:26.011]-[00:48.000] | Verse 2 : The song returns to the verse, a bit more minimal, [00:48.001]-[01:12.000] | Interlude : A watery roto-speaker organ and guitar give us a short moment of psych rock signifiers, [01:12.001]-[01:31.005] | Chorus 2 : Back to the chorus, [01:31.006]-[01:50.010] | Verse 3 : The song returns to the verse again, [01:50.011]-[02:14.010] | Bridge : Vocal improvs overlap a bridging instrumental section, [02:14.011]-[02:33.015] | Jams : A 70s, slithery guitar lead adds back a touch of rock to the pop song, [02:33.016]-[02:52.020] | Last notes : The final notes ring out, [02:52.021]-[02:58.014] | null |
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} | Drum intro : A drum machine and fake drum kit lay down a heavy beat, [00:00.000]-[00:04.020] | Verse 1 : A very radio friendly version of The Earthly Frames starts and its joined by Shirley Kidurka's smooth, alto voice we know that this is oddly a commercial version of The Earthly Frames. Still there's something unsettling about the tempo, instrumentation and lyrics., [00:04.021]-[00:26.010] | Chorus 1 : A quick jump to a banger of a chorus with traces of Infranym's vocoder buried in the mix., [00:26.011]-[00:48.000] | Verse 2 : The song returns to the verse, a bit more minimal, [00:48.001]-[01:12.000] | Interlude : A watery roto-speaker organ and guitar give us a short moment of psych rock signifiers, [01:12.001]-[01:31.005] | Chorus 2 : Back to the chorus, [01:31.006]-[01:50.010] | Verse 3 : The song returns to the verse again, [01:50.011]-[02:14.010] | Bridge : Vocal improvs overlap a bridging instrumental section, [02:14.011]-[02:33.015] | Jams : A 70s, slithery guitar lead adds back a touch of rock to the pop song, [02:33.016]-[02:52.020] | Last notes : The final notes ring out, [02:52.021]-[02:58.014] | null |
08_01_seg_0005_track_09 | 4 | 08_01 | 9 | Pad Synth | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/08_01/08_01_15_pad.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/08_01/08_01_seg_0005_track_09.wav | /Volumes/LucidNonsense/White/staged_raw_material/08_01/08_01_14_pad.mid | 59.021 | 89.021 | 30 | false | true | Now all alight, that new you has us all walking on the blade | Interlude | combined | 59.021 | 91.02 | true | End aligned to Chorus 2 boundary at 91.006s | true | 1/2 | 13 | 60 | 13 | 0 | -1.999 | midi_only | 08_01_9 | 100 | 4 | 4 | C | minor | Violet | Present | Person | Known | null | Thought Rays | 2025-09-08T00:00:00 | [02:58.014] | true | true | Thought it was you, now changed. I'm afraid that I almost called out your deadname I am sending out thought rays into the night's empty star Unmounted trophies, heads down now asleep at the bar Pushing aside, there is no more hiding yourself in the shade Now all alight, that new you has us all walking on the blade I am sending out thought rays into the night's empty star Discontent enrollees, beg you to step out towards the car Ran lines are crossed out us both reading for the same part once again What's it about both losing ourselves to oneself in the end | Sabrina Carpenter, discogs_id: 4378284, Billie Eilish, discogs_id: 5590213, Television, discogs_id: 254494 | catchy, psychedelic, creepy, sexy | pop, psychedelic rock | 08_01.lrc | A woman spots a childhood friend on the street post transition to a trans woman and a trans human. She uses her own implanted 'thought rays' to ping her friend with warnings about what happens to girls like them on the street. | {
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} | Drum intro : A drum machine and fake drum kit lay down a heavy beat, [00:00.000]-[00:04.020] | Verse 1 : A very radio friendly version of The Earthly Frames starts and its joined by Shirley Kidurka's smooth, alto voice we know that this is oddly a commercial version of The Earthly Frames. Still there's something unsettling about the tempo, instrumentation and lyrics., [00:04.021]-[00:26.010] | Chorus 1 : A quick jump to a banger of a chorus with traces of Infranym's vocoder buried in the mix., [00:26.011]-[00:48.000] | Verse 2 : The song returns to the verse, a bit more minimal, [00:48.001]-[01:12.000] | Interlude : A watery roto-speaker organ and guitar give us a short moment of psych rock signifiers, [01:12.001]-[01:31.005] | Chorus 2 : Back to the chorus, [01:31.006]-[01:50.010] | Verse 3 : The song returns to the verse again, [01:50.011]-[02:14.010] | Bridge : Vocal improvs overlap a bridging instrumental section, [02:14.011]-[02:33.015] | Jams : A 70s, slithery guitar lead adds back a touch of rock to the pop song, [02:33.016]-[02:52.020] | Last notes : The final notes ring out, [02:52.021]-[02:58.014] | null |
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} | Drum intro : A drum machine and fake drum kit lay down a heavy beat, [00:00.000]-[00:04.020] | Verse 1 : A very radio friendly version of The Earthly Frames starts and its joined by Shirley Kidurka's smooth, alto voice we know that this is oddly a commercial version of The Earthly Frames. Still there's something unsettling about the tempo, instrumentation and lyrics., [00:04.021]-[00:26.010] | Chorus 1 : A quick jump to a banger of a chorus with traces of Infranym's vocoder buried in the mix., [00:26.011]-[00:48.000] | Verse 2 : The song returns to the verse, a bit more minimal, [00:48.001]-[01:12.000] | Interlude : A watery roto-speaker organ and guitar give us a short moment of psych rock signifiers, [01:12.001]-[01:31.005] | Chorus 2 : Back to the chorus, [01:31.006]-[01:50.010] | Verse 3 : The song returns to the verse again, [01:50.011]-[02:14.010] | Bridge : Vocal improvs overlap a bridging instrumental section, [02:14.011]-[02:33.015] | Jams : A 70s, slithery guitar lead adds back a touch of rock to the pop song, [02:33.016]-[02:52.020] | Last notes : The final notes ring out, [02:52.021]-[02:58.014] | null |
08_01_seg_0006_track_02 | 5 | 08_01 | 2 | Synth Bass | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/08_01/08_01_03_synth_bass.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/08_01/08_01_seg_0006_track_02.wav | /Volumes/LucidNonsense/White/staged_raw_material/08_01/08_01_02_synth_bass.mid | 87.021 | 91.006 | 3.985 | true | true | Now all alight, that new you has us all walking on the blade | Interlude | combined | 59.021 | 91.02 | true | End aligned to Chorus 2 boundary at 91.006s | true | 2/2 | 13 | 60 | 13 | 28 | -0.014 | audio_midi | 08_01_2 | 100 | 4 | 4 | C | minor | Violet | Present | Person | Known | null | Thought Rays | 2025-09-08T00:00:00 | [02:58.014] | true | true | Thought it was you, now changed. I'm afraid that I almost called out your deadname I am sending out thought rays into the night's empty star Unmounted trophies, heads down now asleep at the bar Pushing aside, there is no more hiding yourself in the shade Now all alight, that new you has us all walking on the blade I am sending out thought rays into the night's empty star Discontent enrollees, beg you to step out towards the car Ran lines are crossed out us both reading for the same part once again What's it about both losing ourselves to oneself in the end | Sabrina Carpenter, discogs_id: 4378284, Billie Eilish, discogs_id: 5590213, Television, discogs_id: 254494 | catchy, psychedelic, creepy, sexy | pop, psychedelic rock | 08_01.lrc | A woman spots a childhood friend on the street post transition to a trans woman and a trans human. She uses her own implanted 'thought rays' to ping her friend with warnings about what happens to girls like them on the street. | {
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} | Drum intro : A drum machine and fake drum kit lay down a heavy beat, [00:00.000]-[00:04.020] | Verse 1 : A very radio friendly version of The Earthly Frames starts and its joined by Shirley Kidurka's smooth, alto voice we know that this is oddly a commercial version of The Earthly Frames. Still there's something unsettling about the tempo, instrumentation and lyrics., [00:04.021]-[00:26.010] | Chorus 1 : A quick jump to a banger of a chorus with traces of Infranym's vocoder buried in the mix., [00:26.011]-[00:48.000] | Verse 2 : The song returns to the verse, a bit more minimal, [00:48.001]-[01:12.000] | Interlude : A watery roto-speaker organ and guitar give us a short moment of psych rock signifiers, [01:12.001]-[01:31.005] | Chorus 2 : Back to the chorus, [01:31.006]-[01:50.010] | Verse 3 : The song returns to the verse again, [01:50.011]-[02:14.010] | Bridge : Vocal improvs overlap a bridging instrumental section, [02:14.011]-[02:33.015] | Jams : A 70s, slithery guitar lead adds back a touch of rock to the pop song, [02:33.016]-[02:52.020] | Last notes : The final notes ring out, [02:52.021]-[02:58.014] | null |
08_01_seg_0006_track_03 | 5 | 08_01 | 3 | Main Synth | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/08_01/08_01_05_main_synth.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/08_01/08_01_seg_0006_track_03.wav | /Volumes/LucidNonsense/White/staged_raw_material/08_01/08_01_04_main_synth.mid | 87.021 | 91.006 | 3.985 | true | true | Now all alight, that new you has us all walking on the blade | Interlude | combined | 59.021 | 91.02 | true | End aligned to Chorus 2 boundary at 91.006s | true | 2/2 | 13 | 60 | 13 | 28 | -0.014 | audio_midi | 08_01_3 | 100 | 4 | 4 | C | minor | Violet | Present | Person | Known | null | Thought Rays | 2025-09-08T00:00:00 | [02:58.014] | true | true | Thought it was you, now changed. I'm afraid that I almost called out your deadname I am sending out thought rays into the night's empty star Unmounted trophies, heads down now asleep at the bar Pushing aside, there is no more hiding yourself in the shade Now all alight, that new you has us all walking on the blade I am sending out thought rays into the night's empty star Discontent enrollees, beg you to step out towards the car Ran lines are crossed out us both reading for the same part once again What's it about both losing ourselves to oneself in the end | Sabrina Carpenter, discogs_id: 4378284, Billie Eilish, discogs_id: 5590213, Television, discogs_id: 254494 | catchy, psychedelic, creepy, sexy | pop, psychedelic rock | 08_01.lrc | A woman spots a childhood friend on the street post transition to a trans woman and a trans human. She uses her own implanted 'thought rays' to ping her friend with warnings about what happens to girls like them on the street. | {
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} | Drum intro : A drum machine and fake drum kit lay down a heavy beat, [00:00.000]-[00:04.020] | Verse 1 : A very radio friendly version of The Earthly Frames starts and its joined by Shirley Kidurka's smooth, alto voice we know that this is oddly a commercial version of The Earthly Frames. Still there's something unsettling about the tempo, instrumentation and lyrics., [00:04.021]-[00:26.010] | Chorus 1 : A quick jump to a banger of a chorus with traces of Infranym's vocoder buried in the mix., [00:26.011]-[00:48.000] | Verse 2 : The song returns to the verse, a bit more minimal, [00:48.001]-[01:12.000] | Interlude : A watery roto-speaker organ and guitar give us a short moment of psych rock signifiers, [01:12.001]-[01:31.005] | Chorus 2 : Back to the chorus, [01:31.006]-[01:50.010] | Verse 3 : The song returns to the verse again, [01:50.011]-[02:14.010] | Bridge : Vocal improvs overlap a bridging instrumental section, [02:14.011]-[02:33.015] | Jams : A 70s, slithery guitar lead adds back a touch of rock to the pop song, [02:33.016]-[02:52.020] | Last notes : The final notes ring out, [02:52.021]-[02:58.014] | null |
08_01_seg_0006_track_04 | 5 | 08_01 | 4 | Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/08_01/08_01_06_guitar.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/08_01/08_01_seg_0006_track_04.wav | null | 87.021 | 91.006 | 3.985 | true | false | Now all alight, that new you has us all walking on the blade | Interlude | combined | 59.021 | 91.02 | true | End aligned to Chorus 2 boundary at 91.006s | true | 2/2 | 13 | 60 | 13 | 28 | -0.014 | audio_only | 08_01_4 | 100 | 4 | 4 | C | minor | Violet | Present | Person | Known | null | Thought Rays | 2025-09-08T00:00:00 | [02:58.014] | true | true | Thought it was you, now changed. I'm afraid that I almost called out your deadname I am sending out thought rays into the night's empty star Unmounted trophies, heads down now asleep at the bar Pushing aside, there is no more hiding yourself in the shade Now all alight, that new you has us all walking on the blade I am sending out thought rays into the night's empty star Discontent enrollees, beg you to step out towards the car Ran lines are crossed out us both reading for the same part once again What's it about both losing ourselves to oneself in the end | Sabrina Carpenter, discogs_id: 4378284, Billie Eilish, discogs_id: 5590213, Television, discogs_id: 254494 | catchy, psychedelic, creepy, sexy | pop, psychedelic rock | 08_01.lrc | A woman spots a childhood friend on the street post transition to a trans woman and a trans human. She uses her own implanted 'thought rays' to ping her friend with warnings about what happens to girls like them on the street. | {
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} | Drum intro : A drum machine and fake drum kit lay down a heavy beat, [00:00.000]-[00:04.020] | Verse 1 : A very radio friendly version of The Earthly Frames starts and its joined by Shirley Kidurka's smooth, alto voice we know that this is oddly a commercial version of The Earthly Frames. Still there's something unsettling about the tempo, instrumentation and lyrics., [00:04.021]-[00:26.010] | Chorus 1 : A quick jump to a banger of a chorus with traces of Infranym's vocoder buried in the mix., [00:26.011]-[00:48.000] | Verse 2 : The song returns to the verse, a bit more minimal, [00:48.001]-[01:12.000] | Interlude : A watery roto-speaker organ and guitar give us a short moment of psych rock signifiers, [01:12.001]-[01:31.005] | Chorus 2 : Back to the chorus, [01:31.006]-[01:50.010] | Verse 3 : The song returns to the verse again, [01:50.011]-[02:14.010] | Bridge : Vocal improvs overlap a bridging instrumental section, [02:14.011]-[02:33.015] | Jams : A 70s, slithery guitar lead adds back a touch of rock to the pop song, [02:33.016]-[02:52.020] | Last notes : The final notes ring out, [02:52.021]-[02:58.014] | null |
08_01_seg_0006_track_06 | 5 | 08_01 | 6 | Drum Machine | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/08_01/08_01_09_drums.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/08_01/08_01_seg_0006_track_06.wav | /Volumes/LucidNonsense/White/staged_raw_material/08_01/08_01_08_drums.mid | 87.021 | 91.006 | 3.985 | true | true | Now all alight, that new you has us all walking on the blade | Interlude | combined | 59.021 | 91.02 | true | End aligned to Chorus 2 boundary at 91.006s | true | 2/2 | 13 | 60 | 13 | 28 | -0.014 | audio_midi | 08_01_6 | 100 | 4 | 4 | C | minor | Violet | Present | Person | Known | null | Thought Rays | 2025-09-08T00:00:00 | [02:58.014] | true | true | Thought it was you, now changed. I'm afraid that I almost called out your deadname I am sending out thought rays into the night's empty star Unmounted trophies, heads down now asleep at the bar Pushing aside, there is no more hiding yourself in the shade Now all alight, that new you has us all walking on the blade I am sending out thought rays into the night's empty star Discontent enrollees, beg you to step out towards the car Ran lines are crossed out us both reading for the same part once again What's it about both losing ourselves to oneself in the end | Sabrina Carpenter, discogs_id: 4378284, Billie Eilish, discogs_id: 5590213, Television, discogs_id: 254494 | catchy, psychedelic, creepy, sexy | pop, psychedelic rock | 08_01.lrc | A woman spots a childhood friend on the street post transition to a trans woman and a trans human. She uses her own implanted 'thought rays' to ping her friend with warnings about what happens to girls like them on the street. | {
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} | Drum intro : A drum machine and fake drum kit lay down a heavy beat, [00:00.000]-[00:04.020] | Verse 1 : A very radio friendly version of The Earthly Frames starts and its joined by Shirley Kidurka's smooth, alto voice we know that this is oddly a commercial version of The Earthly Frames. Still there's something unsettling about the tempo, instrumentation and lyrics., [00:04.021]-[00:26.010] | Chorus 1 : A quick jump to a banger of a chorus with traces of Infranym's vocoder buried in the mix., [00:26.011]-[00:48.000] | Verse 2 : The song returns to the verse, a bit more minimal, [00:48.001]-[01:12.000] | Interlude : A watery roto-speaker organ and guitar give us a short moment of psych rock signifiers, [01:12.001]-[01:31.005] | Chorus 2 : Back to the chorus, [01:31.006]-[01:50.010] | Verse 3 : The song returns to the verse again, [01:50.011]-[02:14.010] | Bridge : Vocal improvs overlap a bridging instrumental section, [02:14.011]-[02:33.015] | Jams : A 70s, slithery guitar lead adds back a touch of rock to the pop song, [02:33.016]-[02:52.020] | Last notes : The final notes ring out, [02:52.021]-[02:58.014] | null |
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} | Drum intro : A drum machine and fake drum kit lay down a heavy beat, [00:00.000]-[00:04.020] | Verse 1 : A very radio friendly version of The Earthly Frames starts and its joined by Shirley Kidurka's smooth, alto voice we know that this is oddly a commercial version of The Earthly Frames. Still there's something unsettling about the tempo, instrumentation and lyrics., [00:04.021]-[00:26.010] | Chorus 1 : A quick jump to a banger of a chorus with traces of Infranym's vocoder buried in the mix., [00:26.011]-[00:48.000] | Verse 2 : The song returns to the verse, a bit more minimal, [00:48.001]-[01:12.000] | Interlude : A watery roto-speaker organ and guitar give us a short moment of psych rock signifiers, [01:12.001]-[01:31.005] | Chorus 2 : Back to the chorus, [01:31.006]-[01:50.010] | Verse 3 : The song returns to the verse again, [01:50.011]-[02:14.010] | Bridge : Vocal improvs overlap a bridging instrumental section, [02:14.011]-[02:33.015] | Jams : A 70s, slithery guitar lead adds back a touch of rock to the pop song, [02:33.016]-[02:52.020] | Last notes : The final notes ring out, [02:52.021]-[02:58.014] | null |
08_01_seg_0006_track_09 | 5 | 08_01 | 9 | Pad Synth | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/08_01/08_01_15_pad.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/08_01/08_01_seg_0006_track_09.wav | /Volumes/LucidNonsense/White/staged_raw_material/08_01/08_01_14_pad.mid | 87.021 | 91.006 | 3.985 | false | true | Now all alight, that new you has us all walking on the blade | Interlude | combined | 59.021 | 91.02 | true | End aligned to Chorus 2 boundary at 91.006s | true | 2/2 | 13 | 60 | 13 | 28 | -0.014 | midi_only | 08_01_9 | 100 | 4 | 4 | C | minor | Violet | Present | Person | Known | null | Thought Rays | 2025-09-08T00:00:00 | [02:58.014] | true | true | Thought it was you, now changed. I'm afraid that I almost called out your deadname I am sending out thought rays into the night's empty star Unmounted trophies, heads down now asleep at the bar Pushing aside, there is no more hiding yourself in the shade Now all alight, that new you has us all walking on the blade I am sending out thought rays into the night's empty star Discontent enrollees, beg you to step out towards the car Ran lines are crossed out us both reading for the same part once again What's it about both losing ourselves to oneself in the end | Sabrina Carpenter, discogs_id: 4378284, Billie Eilish, discogs_id: 5590213, Television, discogs_id: 254494 | catchy, psychedelic, creepy, sexy | pop, psychedelic rock | 08_01.lrc | A woman spots a childhood friend on the street post transition to a trans woman and a trans human. She uses her own implanted 'thought rays' to ping her friend with warnings about what happens to girls like them on the street. | {
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} | Drum intro : A drum machine and fake drum kit lay down a heavy beat, [00:00.000]-[00:04.020] | Verse 1 : A very radio friendly version of The Earthly Frames starts and its joined by Shirley Kidurka's smooth, alto voice we know that this is oddly a commercial version of The Earthly Frames. Still there's something unsettling about the tempo, instrumentation and lyrics., [00:04.021]-[00:26.010] | Chorus 1 : A quick jump to a banger of a chorus with traces of Infranym's vocoder buried in the mix., [00:26.011]-[00:48.000] | Verse 2 : The song returns to the verse, a bit more minimal, [00:48.001]-[01:12.000] | Interlude : A watery roto-speaker organ and guitar give us a short moment of psych rock signifiers, [01:12.001]-[01:31.005] | Chorus 2 : Back to the chorus, [01:31.006]-[01:50.010] | Verse 3 : The song returns to the verse again, [01:50.011]-[02:14.010] | Bridge : Vocal improvs overlap a bridging instrumental section, [02:14.011]-[02:33.015] | Jams : A 70s, slithery guitar lead adds back a touch of rock to the pop song, [02:33.016]-[02:52.020] | Last notes : The final notes ring out, [02:52.021]-[02:58.014] | null |
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} | Drum intro : A drum machine and fake drum kit lay down a heavy beat, [00:00.000]-[00:04.020] | Verse 1 : A very radio friendly version of The Earthly Frames starts and its joined by Shirley Kidurka's smooth, alto voice we know that this is oddly a commercial version of The Earthly Frames. Still there's something unsettling about the tempo, instrumentation and lyrics., [00:04.021]-[00:26.010] | Chorus 1 : A quick jump to a banger of a chorus with traces of Infranym's vocoder buried in the mix., [00:26.011]-[00:48.000] | Verse 2 : The song returns to the verse, a bit more minimal, [00:48.001]-[01:12.000] | Interlude : A watery roto-speaker organ and guitar give us a short moment of psych rock signifiers, [01:12.001]-[01:31.005] | Chorus 2 : Back to the chorus, [01:31.006]-[01:50.010] | Verse 3 : The song returns to the verse again, [01:50.011]-[02:14.010] | Bridge : Vocal improvs overlap a bridging instrumental section, [02:14.011]-[02:33.015] | Jams : A 70s, slithery guitar lead adds back a touch of rock to the pop song, [02:33.016]-[02:52.020] | Last notes : The final notes ring out, [02:52.021]-[02:58.014] | null |
08_01_seg_0007_track_03 | 6 | 08_01 | 3 | Main Synth | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/08_01/08_01_05_main_synth.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/08_01/08_01_seg_0007_track_03.wav | /Volumes/LucidNonsense/White/staged_raw_material/08_01/08_01_04_main_synth.mid | 91.006 | 101.01 | 10.004 | true | true | I am sending out thought rays into the night's empty star | Chorus 2 | combined | 91.02 | 101.01 | true | Start aligned to Chorus 2 boundary at 91.006s | false | null | 15 | 57 | 11 | -0.014 | 0 | audio_midi | 08_01_3 | 100 | 4 | 4 | C | minor | Violet | Present | Person | Known | null | Thought Rays | 2025-09-08T00:00:00 | [02:58.014] | true | true | Thought it was you, now changed. I'm afraid that I almost called out your deadname I am sending out thought rays into the night's empty star Unmounted trophies, heads down now asleep at the bar Pushing aside, there is no more hiding yourself in the shade Now all alight, that new you has us all walking on the blade I am sending out thought rays into the night's empty star Discontent enrollees, beg you to step out towards the car Ran lines are crossed out us both reading for the same part once again What's it about both losing ourselves to oneself in the end | Sabrina Carpenter, discogs_id: 4378284, Billie Eilish, discogs_id: 5590213, Television, discogs_id: 254494 | catchy, psychedelic, creepy, sexy | pop, psychedelic rock | 08_01.lrc | A woman spots a childhood friend on the street post transition to a trans woman and a trans human. She uses her own implanted 'thought rays' to ping her friend with warnings about what happens to girls like them on the street. | {
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} | Drum intro : A drum machine and fake drum kit lay down a heavy beat, [00:00.000]-[00:04.020] | Verse 1 : A very radio friendly version of The Earthly Frames starts and its joined by Shirley Kidurka's smooth, alto voice we know that this is oddly a commercial version of The Earthly Frames. Still there's something unsettling about the tempo, instrumentation and lyrics., [00:04.021]-[00:26.010] | Chorus 1 : A quick jump to a banger of a chorus with traces of Infranym's vocoder buried in the mix., [00:26.011]-[00:48.000] | Verse 2 : The song returns to the verse, a bit more minimal, [00:48.001]-[01:12.000] | Interlude : A watery roto-speaker organ and guitar give us a short moment of psych rock signifiers, [01:12.001]-[01:31.005] | Chorus 2 : Back to the chorus, [01:31.006]-[01:50.010] | Verse 3 : The song returns to the verse again, [01:50.011]-[02:14.010] | Bridge : Vocal improvs overlap a bridging instrumental section, [02:14.011]-[02:33.015] | Jams : A 70s, slithery guitar lead adds back a touch of rock to the pop song, [02:33.016]-[02:52.020] | Last notes : The final notes ring out, [02:52.021]-[02:58.014] | null |
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} | Drum intro : A drum machine and fake drum kit lay down a heavy beat, [00:00.000]-[00:04.020] | Verse 1 : A very radio friendly version of The Earthly Frames starts and its joined by Shirley Kidurka's smooth, alto voice we know that this is oddly a commercial version of The Earthly Frames. Still there's something unsettling about the tempo, instrumentation and lyrics., [00:04.021]-[00:26.010] | Chorus 1 : A quick jump to a banger of a chorus with traces of Infranym's vocoder buried in the mix., [00:26.011]-[00:48.000] | Verse 2 : The song returns to the verse, a bit more minimal, [00:48.001]-[01:12.000] | Interlude : A watery roto-speaker organ and guitar give us a short moment of psych rock signifiers, [01:12.001]-[01:31.005] | Chorus 2 : Back to the chorus, [01:31.006]-[01:50.010] | Verse 3 : The song returns to the verse again, [01:50.011]-[02:14.010] | Bridge : Vocal improvs overlap a bridging instrumental section, [02:14.011]-[02:33.015] | Jams : A 70s, slithery guitar lead adds back a touch of rock to the pop song, [02:33.016]-[02:52.020] | Last notes : The final notes ring out, [02:52.021]-[02:58.014] | null |
08_01_seg_0007_track_07 | 6 | 08_01 | 7 | Vocoder Vocal | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/08_01/08_01_11_vocoder.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/08_01/08_01_seg_0007_track_07.wav | /Volumes/LucidNonsense/White/staged_raw_material/08_01/08_01_10_vocoder.mid | 91.006 | 101.01 | 10.004 | false | true | I am sending out thought rays into the night's empty star | Chorus 2 | combined | 91.02 | 101.01 | true | Start aligned to Chorus 2 boundary at 91.006s | false | null | 15 | 57 | 11 | -0.014 | 0 | midi_only | 08_01_7 | 100 | 4 | 4 | C | minor | Violet | Present | Person | Known | null | Thought Rays | 2025-09-08T00:00:00 | [02:58.014] | true | true | Thought it was you, now changed. I'm afraid that I almost called out your deadname I am sending out thought rays into the night's empty star Unmounted trophies, heads down now asleep at the bar Pushing aside, there is no more hiding yourself in the shade Now all alight, that new you has us all walking on the blade I am sending out thought rays into the night's empty star Discontent enrollees, beg you to step out towards the car Ran lines are crossed out us both reading for the same part once again What's it about both losing ourselves to oneself in the end | Sabrina Carpenter, discogs_id: 4378284, Billie Eilish, discogs_id: 5590213, Television, discogs_id: 254494 | catchy, psychedelic, creepy, sexy | pop, psychedelic rock | 08_01.lrc | A woman spots a childhood friend on the street post transition to a trans woman and a trans human. She uses her own implanted 'thought rays' to ping her friend with warnings about what happens to girls like them on the street. | {
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} | Drum intro : A drum machine and fake drum kit lay down a heavy beat, [00:00.000]-[00:04.020] | Verse 1 : A very radio friendly version of The Earthly Frames starts and its joined by Shirley Kidurka's smooth, alto voice we know that this is oddly a commercial version of The Earthly Frames. Still there's something unsettling about the tempo, instrumentation and lyrics., [00:04.021]-[00:26.010] | Chorus 1 : A quick jump to a banger of a chorus with traces of Infranym's vocoder buried in the mix., [00:26.011]-[00:48.000] | Verse 2 : The song returns to the verse, a bit more minimal, [00:48.001]-[01:12.000] | Interlude : A watery roto-speaker organ and guitar give us a short moment of psych rock signifiers, [01:12.001]-[01:31.005] | Chorus 2 : Back to the chorus, [01:31.006]-[01:50.010] | Verse 3 : The song returns to the verse again, [01:50.011]-[02:14.010] | Bridge : Vocal improvs overlap a bridging instrumental section, [02:14.011]-[02:33.015] | Jams : A 70s, slithery guitar lead adds back a touch of rock to the pop song, [02:33.016]-[02:52.020] | Last notes : The final notes ring out, [02:52.021]-[02:58.014] | null |
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} | Drum intro : A drum machine and fake drum kit lay down a heavy beat, [00:00.000]-[00:04.020] | Verse 1 : A very radio friendly version of The Earthly Frames starts and its joined by Shirley Kidurka's smooth, alto voice we know that this is oddly a commercial version of The Earthly Frames. Still there's something unsettling about the tempo, instrumentation and lyrics., [00:04.021]-[00:26.010] | Chorus 1 : A quick jump to a banger of a chorus with traces of Infranym's vocoder buried in the mix., [00:26.011]-[00:48.000] | Verse 2 : The song returns to the verse, a bit more minimal, [00:48.001]-[01:12.000] | Interlude : A watery roto-speaker organ and guitar give us a short moment of psych rock signifiers, [01:12.001]-[01:31.005] | Chorus 2 : Back to the chorus, [01:31.006]-[01:50.010] | Verse 3 : The song returns to the verse again, [01:50.011]-[02:14.010] | Bridge : Vocal improvs overlap a bridging instrumental section, [02:14.011]-[02:33.015] | Jams : A 70s, slithery guitar lead adds back a touch of rock to the pop song, [02:33.016]-[02:52.020] | Last notes : The final notes ring out, [02:52.021]-[02:58.014] | null |
08_01_seg_0007_track_09 | 6 | 08_01 | 9 | Pad Synth | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/08_01/08_01_15_pad.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/08_01/08_01_seg_0007_track_09.wav | /Volumes/LucidNonsense/White/staged_raw_material/08_01/08_01_14_pad.mid | 91.006 | 101.01 | 10.004 | false | true | I am sending out thought rays into the night's empty star | Chorus 2 | combined | 91.02 | 101.01 | true | Start aligned to Chorus 2 boundary at 91.006s | false | null | 15 | 57 | 11 | -0.014 | 0 | midi_only | 08_01_9 | 100 | 4 | 4 | C | minor | Violet | Present | Person | Known | null | Thought Rays | 2025-09-08T00:00:00 | [02:58.014] | true | true | Thought it was you, now changed. I'm afraid that I almost called out your deadname I am sending out thought rays into the night's empty star Unmounted trophies, heads down now asleep at the bar Pushing aside, there is no more hiding yourself in the shade Now all alight, that new you has us all walking on the blade I am sending out thought rays into the night's empty star Discontent enrollees, beg you to step out towards the car Ran lines are crossed out us both reading for the same part once again What's it about both losing ourselves to oneself in the end | Sabrina Carpenter, discogs_id: 4378284, Billie Eilish, discogs_id: 5590213, Television, discogs_id: 254494 | catchy, psychedelic, creepy, sexy | pop, psychedelic rock | 08_01.lrc | A woman spots a childhood friend on the street post transition to a trans woman and a trans human. She uses her own implanted 'thought rays' to ping her friend with warnings about what happens to girls like them on the street. | {
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} | Drum intro : A drum machine and fake drum kit lay down a heavy beat, [00:00.000]-[00:04.020] | Verse 1 : A very radio friendly version of The Earthly Frames starts and its joined by Shirley Kidurka's smooth, alto voice we know that this is oddly a commercial version of The Earthly Frames. Still there's something unsettling about the tempo, instrumentation and lyrics., [00:04.021]-[00:26.010] | Chorus 1 : A quick jump to a banger of a chorus with traces of Infranym's vocoder buried in the mix., [00:26.011]-[00:48.000] | Verse 2 : The song returns to the verse, a bit more minimal, [00:48.001]-[01:12.000] | Interlude : A watery roto-speaker organ and guitar give us a short moment of psych rock signifiers, [01:12.001]-[01:31.005] | Chorus 2 : Back to the chorus, [01:31.006]-[01:50.010] | Verse 3 : The song returns to the verse again, [01:50.011]-[02:14.010] | Bridge : Vocal improvs overlap a bridging instrumental section, [02:14.011]-[02:33.015] | Jams : A 70s, slithery guitar lead adds back a touch of rock to the pop song, [02:33.016]-[02:52.020] | Last notes : The final notes ring out, [02:52.021]-[02:58.014] | null |
08_01_seg_0007_track_10 | 6 | 08_01 | 10 | Lead Vocal | null | RainbowPlayer.SHIRLEY | /Volumes/LucidNonsense/White/staged_raw_material/08_01/08_01_16_lead_vocal.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/08_01/08_01_seg_0007_track_10.wav | null | 91.006 | 101.01 | 10.004 | true | false | I am sending out thought rays into the night's empty star | Chorus 2 | combined | 91.02 | 101.01 | true | Start aligned to Chorus 2 boundary at 91.006s | false | null | 15 | 57 | 11 | -0.014 | 0 | audio_only | 08_01_10 | 100 | 4 | 4 | C | minor | Violet | Present | Person | Known | null | Thought Rays | 2025-09-08T00:00:00 | [02:58.014] | true | true | Thought it was you, now changed. I'm afraid that I almost called out your deadname I am sending out thought rays into the night's empty star Unmounted trophies, heads down now asleep at the bar Pushing aside, there is no more hiding yourself in the shade Now all alight, that new you has us all walking on the blade I am sending out thought rays into the night's empty star Discontent enrollees, beg you to step out towards the car Ran lines are crossed out us both reading for the same part once again What's it about both losing ourselves to oneself in the end | Sabrina Carpenter, discogs_id: 4378284, Billie Eilish, discogs_id: 5590213, Television, discogs_id: 254494 | catchy, psychedelic, creepy, sexy | pop, psychedelic rock | 08_01.lrc | A woman spots a childhood friend on the street post transition to a trans woman and a trans human. She uses her own implanted 'thought rays' to ping her friend with warnings about what happens to girls like them on the street. | {
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} | Drum intro : A drum machine and fake drum kit lay down a heavy beat, [00:00.000]-[00:04.020] | Verse 1 : A very radio friendly version of The Earthly Frames starts and its joined by Shirley Kidurka's smooth, alto voice we know that this is oddly a commercial version of The Earthly Frames. Still there's something unsettling about the tempo, instrumentation and lyrics., [00:04.021]-[00:26.010] | Chorus 1 : A quick jump to a banger of a chorus with traces of Infranym's vocoder buried in the mix., [00:26.011]-[00:48.000] | Verse 2 : The song returns to the verse, a bit more minimal, [00:48.001]-[01:12.000] | Interlude : A watery roto-speaker organ and guitar give us a short moment of psych rock signifiers, [01:12.001]-[01:31.005] | Chorus 2 : Back to the chorus, [01:31.006]-[01:50.010] | Verse 3 : The song returns to the verse again, [01:50.011]-[02:14.010] | Bridge : Vocal improvs overlap a bridging instrumental section, [02:14.011]-[02:33.015] | Jams : A 70s, slithery guitar lead adds back a touch of rock to the pop song, [02:33.016]-[02:52.020] | Last notes : The final notes ring out, [02:52.021]-[02:58.014] | null |
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} | Drum intro : A drum machine and fake drum kit lay down a heavy beat, [00:00.000]-[00:04.020] | Verse 1 : A very radio friendly version of The Earthly Frames starts and its joined by Shirley Kidurka's smooth, alto voice we know that this is oddly a commercial version of The Earthly Frames. Still there's something unsettling about the tempo, instrumentation and lyrics., [00:04.021]-[00:26.010] | Chorus 1 : A quick jump to a banger of a chorus with traces of Infranym's vocoder buried in the mix., [00:26.011]-[00:48.000] | Verse 2 : The song returns to the verse, a bit more minimal, [00:48.001]-[01:12.000] | Interlude : A watery roto-speaker organ and guitar give us a short moment of psych rock signifiers, [01:12.001]-[01:31.005] | Chorus 2 : Back to the chorus, [01:31.006]-[01:50.010] | Verse 3 : The song returns to the verse again, [01:50.011]-[02:14.010] | Bridge : Vocal improvs overlap a bridging instrumental section, [02:14.011]-[02:33.015] | Jams : A 70s, slithery guitar lead adds back a touch of rock to the pop song, [02:33.016]-[02:52.020] | Last notes : The final notes ring out, [02:52.021]-[02:58.014] | null |
08_01_seg_0008_track_03 | 7 | 08_01 | 3 | Main Synth | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/08_01/08_01_05_main_synth.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/08_01/08_01_seg_0008_track_03.wav | /Volumes/LucidNonsense/White/staged_raw_material/08_01/08_01_04_main_synth.mid | 101.01 | 110.01 | 9 | true | true | Discontent enrollees, beg you to step out towards the car | Chorus 2 | combined | 101.01 | 110.006 | true | End aligned to Chorus 2 boundary at 110.010s | false | null | 17 | 57 | 10 | 0 | 0.004 | audio_midi | 08_01_3 | 100 | 4 | 4 | C | minor | Violet | Present | Person | Known | null | Thought Rays | 2025-09-08T00:00:00 | [02:58.014] | true | true | Thought it was you, now changed. I'm afraid that I almost called out your deadname I am sending out thought rays into the night's empty star Unmounted trophies, heads down now asleep at the bar Pushing aside, there is no more hiding yourself in the shade Now all alight, that new you has us all walking on the blade I am sending out thought rays into the night's empty star Discontent enrollees, beg you to step out towards the car Ran lines are crossed out us both reading for the same part once again What's it about both losing ourselves to oneself in the end | Sabrina Carpenter, discogs_id: 4378284, Billie Eilish, discogs_id: 5590213, Television, discogs_id: 254494 | catchy, psychedelic, creepy, sexy | pop, psychedelic rock | 08_01.lrc | A woman spots a childhood friend on the street post transition to a trans woman and a trans human. She uses her own implanted 'thought rays' to ping her friend with warnings about what happens to girls like them on the street. | {
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} | Drum intro : A drum machine and fake drum kit lay down a heavy beat, [00:00.000]-[00:04.020] | Verse 1 : A very radio friendly version of The Earthly Frames starts and its joined by Shirley Kidurka's smooth, alto voice we know that this is oddly a commercial version of The Earthly Frames. Still there's something unsettling about the tempo, instrumentation and lyrics., [00:04.021]-[00:26.010] | Chorus 1 : A quick jump to a banger of a chorus with traces of Infranym's vocoder buried in the mix., [00:26.011]-[00:48.000] | Verse 2 : The song returns to the verse, a bit more minimal, [00:48.001]-[01:12.000] | Interlude : A watery roto-speaker organ and guitar give us a short moment of psych rock signifiers, [01:12.001]-[01:31.005] | Chorus 2 : Back to the chorus, [01:31.006]-[01:50.010] | Verse 3 : The song returns to the verse again, [01:50.011]-[02:14.010] | Bridge : Vocal improvs overlap a bridging instrumental section, [02:14.011]-[02:33.015] | Jams : A 70s, slithery guitar lead adds back a touch of rock to the pop song, [02:33.016]-[02:52.020] | Last notes : The final notes ring out, [02:52.021]-[02:58.014] | null |
08_01_seg_0008_track_06 | 7 | 08_01 | 6 | Drum Machine | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/08_01/08_01_09_drums.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/08_01/08_01_seg_0008_track_06.wav | /Volumes/LucidNonsense/White/staged_raw_material/08_01/08_01_08_drums.mid | 101.01 | 110.01 | 9 | true | true | Discontent enrollees, beg you to step out towards the car | Chorus 2 | combined | 101.01 | 110.006 | true | End aligned to Chorus 2 boundary at 110.010s | false | null | 17 | 57 | 10 | 0 | 0.004 | audio_midi | 08_01_6 | 100 | 4 | 4 | C | minor | Violet | Present | Person | Known | null | Thought Rays | 2025-09-08T00:00:00 | [02:58.014] | true | true | Thought it was you, now changed. I'm afraid that I almost called out your deadname I am sending out thought rays into the night's empty star Unmounted trophies, heads down now asleep at the bar Pushing aside, there is no more hiding yourself in the shade Now all alight, that new you has us all walking on the blade I am sending out thought rays into the night's empty star Discontent enrollees, beg you to step out towards the car Ran lines are crossed out us both reading for the same part once again What's it about both losing ourselves to oneself in the end | Sabrina Carpenter, discogs_id: 4378284, Billie Eilish, discogs_id: 5590213, Television, discogs_id: 254494 | catchy, psychedelic, creepy, sexy | pop, psychedelic rock | 08_01.lrc | A woman spots a childhood friend on the street post transition to a trans woman and a trans human. She uses her own implanted 'thought rays' to ping her friend with warnings about what happens to girls like them on the street. | {
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} | Drum intro : A drum machine and fake drum kit lay down a heavy beat, [00:00.000]-[00:04.020] | Verse 1 : A very radio friendly version of The Earthly Frames starts and its joined by Shirley Kidurka's smooth, alto voice we know that this is oddly a commercial version of The Earthly Frames. Still there's something unsettling about the tempo, instrumentation and lyrics., [00:04.021]-[00:26.010] | Chorus 1 : A quick jump to a banger of a chorus with traces of Infranym's vocoder buried in the mix., [00:26.011]-[00:48.000] | Verse 2 : The song returns to the verse, a bit more minimal, [00:48.001]-[01:12.000] | Interlude : A watery roto-speaker organ and guitar give us a short moment of psych rock signifiers, [01:12.001]-[01:31.005] | Chorus 2 : Back to the chorus, [01:31.006]-[01:50.010] | Verse 3 : The song returns to the verse again, [01:50.011]-[02:14.010] | Bridge : Vocal improvs overlap a bridging instrumental section, [02:14.011]-[02:33.015] | Jams : A 70s, slithery guitar lead adds back a touch of rock to the pop song, [02:33.016]-[02:52.020] | Last notes : The final notes ring out, [02:52.021]-[02:58.014] | null |
08_01_seg_0008_track_08 | 7 | 08_01 | 8 | Faux Kit | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/08_01/08_01_13_faux_kit.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/08_01/08_01_seg_0008_track_08.wav | /Volumes/LucidNonsense/White/staged_raw_material/08_01/08_01_12_faux_kit.mid | 101.01 | 110.01 | 9 | true | true | Discontent enrollees, beg you to step out towards the car | Chorus 2 | combined | 101.01 | 110.006 | true | End aligned to Chorus 2 boundary at 110.010s | false | null | 17 | 57 | 10 | 0 | 0.004 | audio_midi | 08_01_8 | 100 | 4 | 4 | C | minor | Violet | Present | Person | Known | null | Thought Rays | 2025-09-08T00:00:00 | [02:58.014] | true | true | Thought it was you, now changed. I'm afraid that I almost called out your deadname I am sending out thought rays into the night's empty star Unmounted trophies, heads down now asleep at the bar Pushing aside, there is no more hiding yourself in the shade Now all alight, that new you has us all walking on the blade I am sending out thought rays into the night's empty star Discontent enrollees, beg you to step out towards the car Ran lines are crossed out us both reading for the same part once again What's it about both losing ourselves to oneself in the end | Sabrina Carpenter, discogs_id: 4378284, Billie Eilish, discogs_id: 5590213, Television, discogs_id: 254494 | catchy, psychedelic, creepy, sexy | pop, psychedelic rock | 08_01.lrc | A woman spots a childhood friend on the street post transition to a trans woman and a trans human. She uses her own implanted 'thought rays' to ping her friend with warnings about what happens to girls like them on the street. | {
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} | Drum intro : A drum machine and fake drum kit lay down a heavy beat, [00:00.000]-[00:04.020] | Verse 1 : A very radio friendly version of The Earthly Frames starts and its joined by Shirley Kidurka's smooth, alto voice we know that this is oddly a commercial version of The Earthly Frames. Still there's something unsettling about the tempo, instrumentation and lyrics., [00:04.021]-[00:26.010] | Chorus 1 : A quick jump to a banger of a chorus with traces of Infranym's vocoder buried in the mix., [00:26.011]-[00:48.000] | Verse 2 : The song returns to the verse, a bit more minimal, [00:48.001]-[01:12.000] | Interlude : A watery roto-speaker organ and guitar give us a short moment of psych rock signifiers, [01:12.001]-[01:31.005] | Chorus 2 : Back to the chorus, [01:31.006]-[01:50.010] | Verse 3 : The song returns to the verse again, [01:50.011]-[02:14.010] | Bridge : Vocal improvs overlap a bridging instrumental section, [02:14.011]-[02:33.015] | Jams : A 70s, slithery guitar lead adds back a touch of rock to the pop song, [02:33.016]-[02:52.020] | Last notes : The final notes ring out, [02:52.021]-[02:58.014] | null |
08_01_seg_0008_track_09 | 7 | 08_01 | 9 | Pad Synth | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/08_01/08_01_15_pad.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/08_01/08_01_seg_0008_track_09.wav | /Volumes/LucidNonsense/White/staged_raw_material/08_01/08_01_14_pad.mid | 101.01 | 110.01 | 9 | false | true | Discontent enrollees, beg you to step out towards the car | Chorus 2 | combined | 101.01 | 110.006 | true | End aligned to Chorus 2 boundary at 110.010s | false | null | 17 | 57 | 10 | 0 | 0.004 | midi_only | 08_01_9 | 100 | 4 | 4 | C | minor | Violet | Present | Person | Known | null | Thought Rays | 2025-09-08T00:00:00 | [02:58.014] | true | true | Thought it was you, now changed. I'm afraid that I almost called out your deadname I am sending out thought rays into the night's empty star Unmounted trophies, heads down now asleep at the bar Pushing aside, there is no more hiding yourself in the shade Now all alight, that new you has us all walking on the blade I am sending out thought rays into the night's empty star Discontent enrollees, beg you to step out towards the car Ran lines are crossed out us both reading for the same part once again What's it about both losing ourselves to oneself in the end | Sabrina Carpenter, discogs_id: 4378284, Billie Eilish, discogs_id: 5590213, Television, discogs_id: 254494 | catchy, psychedelic, creepy, sexy | pop, psychedelic rock | 08_01.lrc | A woman spots a childhood friend on the street post transition to a trans woman and a trans human. She uses her own implanted 'thought rays' to ping her friend with warnings about what happens to girls like them on the street. | {
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} | Drum intro : A drum machine and fake drum kit lay down a heavy beat, [00:00.000]-[00:04.020] | Verse 1 : A very radio friendly version of The Earthly Frames starts and its joined by Shirley Kidurka's smooth, alto voice we know that this is oddly a commercial version of The Earthly Frames. Still there's something unsettling about the tempo, instrumentation and lyrics., [00:04.021]-[00:26.010] | Chorus 1 : A quick jump to a banger of a chorus with traces of Infranym's vocoder buried in the mix., [00:26.011]-[00:48.000] | Verse 2 : The song returns to the verse, a bit more minimal, [00:48.001]-[01:12.000] | Interlude : A watery roto-speaker organ and guitar give us a short moment of psych rock signifiers, [01:12.001]-[01:31.005] | Chorus 2 : Back to the chorus, [01:31.006]-[01:50.010] | Verse 3 : The song returns to the verse again, [01:50.011]-[02:14.010] | Bridge : Vocal improvs overlap a bridging instrumental section, [02:14.011]-[02:33.015] | Jams : A 70s, slithery guitar lead adds back a touch of rock to the pop song, [02:33.016]-[02:52.020] | Last notes : The final notes ring out, [02:52.021]-[02:58.014] | null |
08_01_seg_0008_track_10 | 7 | 08_01 | 10 | Lead Vocal | null | RainbowPlayer.SHIRLEY | /Volumes/LucidNonsense/White/staged_raw_material/08_01/08_01_16_lead_vocal.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/08_01/08_01_seg_0008_track_10.wav | null | 101.01 | 110.01 | 9 | true | false | Discontent enrollees, beg you to step out towards the car | Chorus 2 | combined | 101.01 | 110.006 | true | End aligned to Chorus 2 boundary at 110.010s | false | null | 17 | 57 | 10 | 0 | 0.004 | audio_only | 08_01_10 | 100 | 4 | 4 | C | minor | Violet | Present | Person | Known | null | Thought Rays | 2025-09-08T00:00:00 | [02:58.014] | true | true | Thought it was you, now changed. I'm afraid that I almost called out your deadname I am sending out thought rays into the night's empty star Unmounted trophies, heads down now asleep at the bar Pushing aside, there is no more hiding yourself in the shade Now all alight, that new you has us all walking on the blade I am sending out thought rays into the night's empty star Discontent enrollees, beg you to step out towards the car Ran lines are crossed out us both reading for the same part once again What's it about both losing ourselves to oneself in the end | Sabrina Carpenter, discogs_id: 4378284, Billie Eilish, discogs_id: 5590213, Television, discogs_id: 254494 | catchy, psychedelic, creepy, sexy | pop, psychedelic rock | 08_01.lrc | A woman spots a childhood friend on the street post transition to a trans woman and a trans human. She uses her own implanted 'thought rays' to ping her friend with warnings about what happens to girls like them on the street. | {
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} | Drum intro : A drum machine and fake drum kit lay down a heavy beat, [00:00.000]-[00:04.020] | Verse 1 : A very radio friendly version of The Earthly Frames starts and its joined by Shirley Kidurka's smooth, alto voice we know that this is oddly a commercial version of The Earthly Frames. Still there's something unsettling about the tempo, instrumentation and lyrics., [00:04.021]-[00:26.010] | Chorus 1 : A quick jump to a banger of a chorus with traces of Infranym's vocoder buried in the mix., [00:26.011]-[00:48.000] | Verse 2 : The song returns to the verse, a bit more minimal, [00:48.001]-[01:12.000] | Interlude : A watery roto-speaker organ and guitar give us a short moment of psych rock signifiers, [01:12.001]-[01:31.005] | Chorus 2 : Back to the chorus, [01:31.006]-[01:50.010] | Verse 3 : The song returns to the verse again, [01:50.011]-[02:14.010] | Bridge : Vocal improvs overlap a bridging instrumental section, [02:14.011]-[02:33.015] | Jams : A 70s, slithery guitar lead adds back a touch of rock to the pop song, [02:33.016]-[02:52.020] | Last notes : The final notes ring out, [02:52.021]-[02:58.014] | null |
08_01_seg_0009_track_02 | 8 | 08_01 | 2 | Synth Bass | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/08_01/08_01_03_synth_bass.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/08_01/08_01_seg_0009_track_02.wav | /Volumes/LucidNonsense/White/staged_raw_material/08_01/08_01_02_synth_bass.mid | 110.01 | 122.01 | 12 | true | true | Ran lines are crossed out us both reading for the same part once again | Verse 3 | combined | 110.006 | 122.01 | true | Start aligned to Chorus 2 boundary at 110.010s | false | null | 19 | 70 | 14 | 0.004 | 0 | audio_midi | 08_01_2 | 100 | 4 | 4 | C | minor | Violet | Present | Person | Known | null | Thought Rays | 2025-09-08T00:00:00 | [02:58.014] | true | true | Thought it was you, now changed. I'm afraid that I almost called out your deadname I am sending out thought rays into the night's empty star Unmounted trophies, heads down now asleep at the bar Pushing aside, there is no more hiding yourself in the shade Now all alight, that new you has us all walking on the blade I am sending out thought rays into the night's empty star Discontent enrollees, beg you to step out towards the car Ran lines are crossed out us both reading for the same part once again What's it about both losing ourselves to oneself in the end | Sabrina Carpenter, discogs_id: 4378284, Billie Eilish, discogs_id: 5590213, Television, discogs_id: 254494 | catchy, psychedelic, creepy, sexy | pop, psychedelic rock | 08_01.lrc | A woman spots a childhood friend on the street post transition to a trans woman and a trans human. She uses her own implanted 'thought rays' to ping her friend with warnings about what happens to girls like them on the street. | {
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} | Drum intro : A drum machine and fake drum kit lay down a heavy beat, [00:00.000]-[00:04.020] | Verse 1 : A very radio friendly version of The Earthly Frames starts and its joined by Shirley Kidurka's smooth, alto voice we know that this is oddly a commercial version of The Earthly Frames. Still there's something unsettling about the tempo, instrumentation and lyrics., [00:04.021]-[00:26.010] | Chorus 1 : A quick jump to a banger of a chorus with traces of Infranym's vocoder buried in the mix., [00:26.011]-[00:48.000] | Verse 2 : The song returns to the verse, a bit more minimal, [00:48.001]-[01:12.000] | Interlude : A watery roto-speaker organ and guitar give us a short moment of psych rock signifiers, [01:12.001]-[01:31.005] | Chorus 2 : Back to the chorus, [01:31.006]-[01:50.010] | Verse 3 : The song returns to the verse again, [01:50.011]-[02:14.010] | Bridge : Vocal improvs overlap a bridging instrumental section, [02:14.011]-[02:33.015] | Jams : A 70s, slithery guitar lead adds back a touch of rock to the pop song, [02:33.016]-[02:52.020] | Last notes : The final notes ring out, [02:52.021]-[02:58.014] | null |
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} | Drum intro : A drum machine and fake drum kit lay down a heavy beat, [00:00.000]-[00:04.020] | Verse 1 : A very radio friendly version of The Earthly Frames starts and its joined by Shirley Kidurka's smooth, alto voice we know that this is oddly a commercial version of The Earthly Frames. Still there's something unsettling about the tempo, instrumentation and lyrics., [00:04.021]-[00:26.010] | Chorus 1 : A quick jump to a banger of a chorus with traces of Infranym's vocoder buried in the mix., [00:26.011]-[00:48.000] | Verse 2 : The song returns to the verse, a bit more minimal, [00:48.001]-[01:12.000] | Interlude : A watery roto-speaker organ and guitar give us a short moment of psych rock signifiers, [01:12.001]-[01:31.005] | Chorus 2 : Back to the chorus, [01:31.006]-[01:50.010] | Verse 3 : The song returns to the verse again, [01:50.011]-[02:14.010] | Bridge : Vocal improvs overlap a bridging instrumental section, [02:14.011]-[02:33.015] | Jams : A 70s, slithery guitar lead adds back a touch of rock to the pop song, [02:33.016]-[02:52.020] | Last notes : The final notes ring out, [02:52.021]-[02:58.014] | null |
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} | Drum intro : A drum machine and fake drum kit lay down a heavy beat, [00:00.000]-[00:04.020] | Verse 1 : A very radio friendly version of The Earthly Frames starts and its joined by Shirley Kidurka's smooth, alto voice we know that this is oddly a commercial version of The Earthly Frames. Still there's something unsettling about the tempo, instrumentation and lyrics., [00:04.021]-[00:26.010] | Chorus 1 : A quick jump to a banger of a chorus with traces of Infranym's vocoder buried in the mix., [00:26.011]-[00:48.000] | Verse 2 : The song returns to the verse, a bit more minimal, [00:48.001]-[01:12.000] | Interlude : A watery roto-speaker organ and guitar give us a short moment of psych rock signifiers, [01:12.001]-[01:31.005] | Chorus 2 : Back to the chorus, [01:31.006]-[01:50.010] | Verse 3 : The song returns to the verse again, [01:50.011]-[02:14.010] | Bridge : Vocal improvs overlap a bridging instrumental section, [02:14.011]-[02:33.015] | Jams : A 70s, slithery guitar lead adds back a touch of rock to the pop song, [02:33.016]-[02:52.020] | Last notes : The final notes ring out, [02:52.021]-[02:58.014] | null |
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} | Drum intro : A drum machine and fake drum kit lay down a heavy beat, [00:00.000]-[00:04.020] | Verse 1 : A very radio friendly version of The Earthly Frames starts and its joined by Shirley Kidurka's smooth, alto voice we know that this is oddly a commercial version of The Earthly Frames. Still there's something unsettling about the tempo, instrumentation and lyrics., [00:04.021]-[00:26.010] | Chorus 1 : A quick jump to a banger of a chorus with traces of Infranym's vocoder buried in the mix., [00:26.011]-[00:48.000] | Verse 2 : The song returns to the verse, a bit more minimal, [00:48.001]-[01:12.000] | Interlude : A watery roto-speaker organ and guitar give us a short moment of psych rock signifiers, [01:12.001]-[01:31.005] | Chorus 2 : Back to the chorus, [01:31.006]-[01:50.010] | Verse 3 : The song returns to the verse again, [01:50.011]-[02:14.010] | Bridge : Vocal improvs overlap a bridging instrumental section, [02:14.011]-[02:33.015] | Jams : A 70s, slithery guitar lead adds back a touch of rock to the pop song, [02:33.016]-[02:52.020] | Last notes : The final notes ring out, [02:52.021]-[02:58.014] | null |
08_01_seg_0009_track_10 | 8 | 08_01 | 10 | Lead Vocal | null | RainbowPlayer.SHIRLEY | /Volumes/LucidNonsense/White/staged_raw_material/08_01/08_01_16_lead_vocal.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/08_01/08_01_seg_0009_track_10.wav | null | 110.01 | 122.01 | 12 | true | false | Ran lines are crossed out us both reading for the same part once again | Verse 3 | combined | 110.006 | 122.01 | true | Start aligned to Chorus 2 boundary at 110.010s | false | null | 19 | 70 | 14 | 0.004 | 0 | audio_only | 08_01_10 | 100 | 4 | 4 | C | minor | Violet | Present | Person | Known | null | Thought Rays | 2025-09-08T00:00:00 | [02:58.014] | true | true | Thought it was you, now changed. I'm afraid that I almost called out your deadname I am sending out thought rays into the night's empty star Unmounted trophies, heads down now asleep at the bar Pushing aside, there is no more hiding yourself in the shade Now all alight, that new you has us all walking on the blade I am sending out thought rays into the night's empty star Discontent enrollees, beg you to step out towards the car Ran lines are crossed out us both reading for the same part once again What's it about both losing ourselves to oneself in the end | Sabrina Carpenter, discogs_id: 4378284, Billie Eilish, discogs_id: 5590213, Television, discogs_id: 254494 | catchy, psychedelic, creepy, sexy | pop, psychedelic rock | 08_01.lrc | A woman spots a childhood friend on the street post transition to a trans woman and a trans human. She uses her own implanted 'thought rays' to ping her friend with warnings about what happens to girls like them on the street. | {
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} | Drum intro : A drum machine and fake drum kit lay down a heavy beat, [00:00.000]-[00:04.020] | Verse 1 : A very radio friendly version of The Earthly Frames starts and its joined by Shirley Kidurka's smooth, alto voice we know that this is oddly a commercial version of The Earthly Frames. Still there's something unsettling about the tempo, instrumentation and lyrics., [00:04.021]-[00:26.010] | Chorus 1 : A quick jump to a banger of a chorus with traces of Infranym's vocoder buried in the mix., [00:26.011]-[00:48.000] | Verse 2 : The song returns to the verse, a bit more minimal, [00:48.001]-[01:12.000] | Interlude : A watery roto-speaker organ and guitar give us a short moment of psych rock signifiers, [01:12.001]-[01:31.005] | Chorus 2 : Back to the chorus, [01:31.006]-[01:50.010] | Verse 3 : The song returns to the verse again, [01:50.011]-[02:14.010] | Bridge : Vocal improvs overlap a bridging instrumental section, [02:14.011]-[02:33.015] | Jams : A 70s, slithery guitar lead adds back a touch of rock to the pop song, [02:33.016]-[02:52.020] | Last notes : The final notes ring out, [02:52.021]-[02:58.014] | null |
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} | Drum intro : A drum machine and fake drum kit lay down a heavy beat, [00:00.000]-[00:04.020] | Verse 1 : A very radio friendly version of The Earthly Frames starts and its joined by Shirley Kidurka's smooth, alto voice we know that this is oddly a commercial version of The Earthly Frames. Still there's something unsettling about the tempo, instrumentation and lyrics., [00:04.021]-[00:26.010] | Chorus 1 : A quick jump to a banger of a chorus with traces of Infranym's vocoder buried in the mix., [00:26.011]-[00:48.000] | Verse 2 : The song returns to the verse, a bit more minimal, [00:48.001]-[01:12.000] | Interlude : A watery roto-speaker organ and guitar give us a short moment of psych rock signifiers, [01:12.001]-[01:31.005] | Chorus 2 : Back to the chorus, [01:31.006]-[01:50.010] | Verse 3 : The song returns to the verse again, [01:50.011]-[02:14.010] | Bridge : Vocal improvs overlap a bridging instrumental section, [02:14.011]-[02:33.015] | Jams : A 70s, slithery guitar lead adds back a touch of rock to the pop song, [02:33.016]-[02:52.020] | Last notes : The final notes ring out, [02:52.021]-[02:58.014] | null | |
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} | Drum intro : A drum machine and fake drum kit lay down a heavy beat, [00:00.000]-[00:04.020] | Verse 1 : A very radio friendly version of The Earthly Frames starts and its joined by Shirley Kidurka's smooth, alto voice we know that this is oddly a commercial version of The Earthly Frames. Still there's something unsettling about the tempo, instrumentation and lyrics., [00:04.021]-[00:26.010] | Chorus 1 : A quick jump to a banger of a chorus with traces of Infranym's vocoder buried in the mix., [00:26.011]-[00:48.000] | Verse 2 : The song returns to the verse, a bit more minimal, [00:48.001]-[01:12.000] | Interlude : A watery roto-speaker organ and guitar give us a short moment of psych rock signifiers, [01:12.001]-[01:31.005] | Chorus 2 : Back to the chorus, [01:31.006]-[01:50.010] | Verse 3 : The song returns to the verse again, [01:50.011]-[02:14.010] | Bridge : Vocal improvs overlap a bridging instrumental section, [02:14.011]-[02:33.015] | Jams : A 70s, slithery guitar lead adds back a touch of rock to the pop song, [02:33.016]-[02:52.020] | Last notes : The final notes ring out, [02:52.021]-[02:58.014] | null | |
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} | Drum intro : A drum machine and fake drum kit lay down a heavy beat, [00:00.000]-[00:04.020] | Verse 1 : A very radio friendly version of The Earthly Frames starts and its joined by Shirley Kidurka's smooth, alto voice we know that this is oddly a commercial version of The Earthly Frames. Still there's something unsettling about the tempo, instrumentation and lyrics., [00:04.021]-[00:26.010] | Chorus 1 : A quick jump to a banger of a chorus with traces of Infranym's vocoder buried in the mix., [00:26.011]-[00:48.000] | Verse 2 : The song returns to the verse, a bit more minimal, [00:48.001]-[01:12.000] | Interlude : A watery roto-speaker organ and guitar give us a short moment of psych rock signifiers, [01:12.001]-[01:31.005] | Chorus 2 : Back to the chorus, [01:31.006]-[01:50.010] | Verse 3 : The song returns to the verse again, [01:50.011]-[02:14.010] | Bridge : Vocal improvs overlap a bridging instrumental section, [02:14.011]-[02:33.015] | Jams : A 70s, slithery guitar lead adds back a touch of rock to the pop song, [02:33.016]-[02:52.020] | Last notes : The final notes ring out, [02:52.021]-[02:58.014] | null | |
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} | Drum intro : A drum machine and fake drum kit lay down a heavy beat, [00:00.000]-[00:04.020] | Verse 1 : A very radio friendly version of The Earthly Frames starts and its joined by Shirley Kidurka's smooth, alto voice we know that this is oddly a commercial version of The Earthly Frames. Still there's something unsettling about the tempo, instrumentation and lyrics., [00:04.021]-[00:26.010] | Chorus 1 : A quick jump to a banger of a chorus with traces of Infranym's vocoder buried in the mix., [00:26.011]-[00:48.000] | Verse 2 : The song returns to the verse, a bit more minimal, [00:48.001]-[01:12.000] | Interlude : A watery roto-speaker organ and guitar give us a short moment of psych rock signifiers, [01:12.001]-[01:31.005] | Chorus 2 : Back to the chorus, [01:31.006]-[01:50.010] | Verse 3 : The song returns to the verse again, [01:50.011]-[02:14.010] | Bridge : Vocal improvs overlap a bridging instrumental section, [02:14.011]-[02:33.015] | Jams : A 70s, slithery guitar lead adds back a touch of rock to the pop song, [02:33.016]-[02:52.020] | Last notes : The final notes ring out, [02:52.021]-[02:58.014] | null | |
08_01_seg_0010_track_10 | 9 | 08_01 | 10 | Lead Vocal | null | RainbowPlayer.SHIRLEY | /Volumes/LucidNonsense/White/staged_raw_material/08_01/08_01_16_lead_vocal.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/08_01/08_01_seg_0010_track_10.wav | null | 122.01 | 125.01 | 3 | true | false | What's it about both losing ourselves to oneself in the end | Verse 3 | combined | 122.01 | 125.01 | false | false | null | 21 | 59 | 11 | 0 | 0 | audio_only | 08_01_10 | 100 | 4 | 4 | C | minor | Violet | Present | Person | Known | null | Thought Rays | 2025-09-08T00:00:00 | [02:58.014] | true | true | Thought it was you, now changed. I'm afraid that I almost called out your deadname I am sending out thought rays into the night's empty star Unmounted trophies, heads down now asleep at the bar Pushing aside, there is no more hiding yourself in the shade Now all alight, that new you has us all walking on the blade I am sending out thought rays into the night's empty star Discontent enrollees, beg you to step out towards the car Ran lines are crossed out us both reading for the same part once again What's it about both losing ourselves to oneself in the end | Sabrina Carpenter, discogs_id: 4378284, Billie Eilish, discogs_id: 5590213, Television, discogs_id: 254494 | catchy, psychedelic, creepy, sexy | pop, psychedelic rock | 08_01.lrc | A woman spots a childhood friend on the street post transition to a trans woman and a trans human. She uses her own implanted 'thought rays' to ping her friend with warnings about what happens to girls like them on the street. | {
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} | Drum intro : A drum machine and fake drum kit lay down a heavy beat, [00:00.000]-[00:04.020] | Verse 1 : A very radio friendly version of The Earthly Frames starts and its joined by Shirley Kidurka's smooth, alto voice we know that this is oddly a commercial version of The Earthly Frames. Still there's something unsettling about the tempo, instrumentation and lyrics., [00:04.021]-[00:26.010] | Chorus 1 : A quick jump to a banger of a chorus with traces of Infranym's vocoder buried in the mix., [00:26.011]-[00:48.000] | Verse 2 : The song returns to the verse, a bit more minimal, [00:48.001]-[01:12.000] | Interlude : A watery roto-speaker organ and guitar give us a short moment of psych rock signifiers, [01:12.001]-[01:31.005] | Chorus 2 : Back to the chorus, [01:31.006]-[01:50.010] | Verse 3 : The song returns to the verse again, [01:50.011]-[02:14.010] | Bridge : Vocal improvs overlap a bridging instrumental section, [02:14.011]-[02:33.015] | Jams : A 70s, slithery guitar lead adds back a touch of rock to the pop song, [02:33.016]-[02:52.020] | Last notes : The final notes ring out, [02:52.021]-[02:58.014] | null | |
08_02_seg_0001_track_02 | 0 | 08_02 | 2 | Piano | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/08_02/08_02_03_piano.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/08_02/08_02_seg_0001_track_02.wav | /Volumes/LucidNonsense/White/staged_raw_material/08_02/08_02_02_piano.mid | 11.007 | 22.014 | 11.007 | false | true | I get the feeling that you've heard what I'm singing, heard it all before | Bridge as Intro | combined | 11.007 | 22.014 | true | End aligned to Bridge as Intro boundary at 22.014s | false | null | 5 | 73 | 14 | 0 | 0 | midi_only | 08_02_2 | 85 | 4 | 4 | G | minor | Violet | Present | Person | Known | null | Read Rile…y | 2025-09-08T00:00:00 | [03:06.008] | true | true | I get the feeling that you've heard what I'm singing, heard it all before So you know if it was up to me, you'd be right here to keep me honest It's nothing new, it might be plagiary not theoretical novelty The well's run out and all the water's muddied Beyond a doubt, beyond the pale You're the only one who counts when I repeat myself I get the feeling that you know what I'm saying, heard it all before As you know if it was up to me, I'd be right there, open to critique It's just a few, loyal listeners left, they're tuning into past frequencies They're taking it in house your pitch was the same last year Beyond a doubt, beyond the sale You're the only one who can count when I repeat myself Running low on clout, my lenders are collecting Beyond a doubt, beyond the tail You're the only one who can count, when I repeat myself | James Blake, discogs_id: 1500084, Harry Styles, discogs_id: 2508414, Lauv, discogs_id: 5047975 | sad, ironic, sadistic | Pop, Rock | 08_02.lrc | A very inside allusion to Fat Albert and The Clash - this song is a focus on one's limitations. The narrator realizes he's done this song before and it sends him into a depressive spiral. | {
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} | Bridge as Intro : The keyboards, bass, and piano play the bridge before the drums and guitar kick in, [00:00.000]-[00:22.014] | Verse 1 : The vocals are an affected male baritone, but not Gabe - it's a commercial version of him and bordering on parody., [00:22.015]-[00:45.004] | Chorus 1 : The chorus is an easy transition from the verse to the bridge with a sad and ironic lyric which focuses on the failings of Gabe's creative output., [00:45.005]-[01:07.019] | Bridge 2 : The bridge returns with a slightly different arrangement., [01:07.020]-[01:30.008] | Verse 2 : The second verse continues the ironic take on Gabe's creative struggles., [01:30.009]-[01:52.023] | Chorus 2 : Back to the chorus., [01:52.024]-[02:14.011] | Bridge 3 : A repeat of the bridge with a slightly different arrangement., [02:14.012]-[02:38.002] | Chorus 3 : The final chorus is a bit more resigned and more emotional., [02:38.003]-[03:06.008] | null |
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} | Bridge as Intro : The keyboards, bass, and piano play the bridge before the drums and guitar kick in, [00:00.000]-[00:22.014] | Verse 1 : The vocals are an affected male baritone, but not Gabe - it's a commercial version of him and bordering on parody., [00:22.015]-[00:45.004] | Chorus 1 : The chorus is an easy transition from the verse to the bridge with a sad and ironic lyric which focuses on the failings of Gabe's creative output., [00:45.005]-[01:07.019] | Bridge 2 : The bridge returns with a slightly different arrangement., [01:07.020]-[01:30.008] | Verse 2 : The second verse continues the ironic take on Gabe's creative struggles., [01:30.009]-[01:52.023] | Chorus 2 : Back to the chorus., [01:52.024]-[02:14.011] | Bridge 3 : A repeat of the bridge with a slightly different arrangement., [02:14.012]-[02:38.002] | Chorus 3 : The final chorus is a bit more resigned and more emotional., [02:38.003]-[03:06.008] | null |
08_02_seg_0001_track_04 | 0 | 08_02 | 4 | Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/08_02/08_02_06_guitar.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/08_02/08_02_seg_0001_track_04.wav | null | 11.007 | 22.014 | 11.007 | true | false | I get the feeling that you've heard what I'm singing, heard it all before | Bridge as Intro | combined | 11.007 | 22.014 | true | End aligned to Bridge as Intro boundary at 22.014s | false | null | 5 | 73 | 14 | 0 | 0 | audio_only | 08_02_4 | 85 | 4 | 4 | G | minor | Violet | Present | Person | Known | null | Read Rile…y | 2025-09-08T00:00:00 | [03:06.008] | true | true | I get the feeling that you've heard what I'm singing, heard it all before So you know if it was up to me, you'd be right here to keep me honest It's nothing new, it might be plagiary not theoretical novelty The well's run out and all the water's muddied Beyond a doubt, beyond the pale You're the only one who counts when I repeat myself I get the feeling that you know what I'm saying, heard it all before As you know if it was up to me, I'd be right there, open to critique It's just a few, loyal listeners left, they're tuning into past frequencies They're taking it in house your pitch was the same last year Beyond a doubt, beyond the sale You're the only one who can count when I repeat myself Running low on clout, my lenders are collecting Beyond a doubt, beyond the tail You're the only one who can count, when I repeat myself | James Blake, discogs_id: 1500084, Harry Styles, discogs_id: 2508414, Lauv, discogs_id: 5047975 | sad, ironic, sadistic | Pop, Rock | 08_02.lrc | A very inside allusion to Fat Albert and The Clash - this song is a focus on one's limitations. The narrator realizes he's done this song before and it sends him into a depressive spiral. | {
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} | Bridge as Intro : The keyboards, bass, and piano play the bridge before the drums and guitar kick in, [00:00.000]-[00:22.014] | Verse 1 : The vocals are an affected male baritone, but not Gabe - it's a commercial version of him and bordering on parody., [00:22.015]-[00:45.004] | Chorus 1 : The chorus is an easy transition from the verse to the bridge with a sad and ironic lyric which focuses on the failings of Gabe's creative output., [00:45.005]-[01:07.019] | Bridge 2 : The bridge returns with a slightly different arrangement., [01:07.020]-[01:30.008] | Verse 2 : The second verse continues the ironic take on Gabe's creative struggles., [01:30.009]-[01:52.023] | Chorus 2 : Back to the chorus., [01:52.024]-[02:14.011] | Bridge 3 : A repeat of the bridge with a slightly different arrangement., [02:14.012]-[02:38.002] | Chorus 3 : The final chorus is a bit more resigned and more emotional., [02:38.003]-[03:06.008] | null |
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} | Bridge as Intro : The keyboards, bass, and piano play the bridge before the drums and guitar kick in, [00:00.000]-[00:22.014] | Verse 1 : The vocals are an affected male baritone, but not Gabe - it's a commercial version of him and bordering on parody., [00:22.015]-[00:45.004] | Chorus 1 : The chorus is an easy transition from the verse to the bridge with a sad and ironic lyric which focuses on the failings of Gabe's creative output., [00:45.005]-[01:07.019] | Bridge 2 : The bridge returns with a slightly different arrangement., [01:07.020]-[01:30.008] | Verse 2 : The second verse continues the ironic take on Gabe's creative struggles., [01:30.009]-[01:52.023] | Chorus 2 : Back to the chorus., [01:52.024]-[02:14.011] | Bridge 3 : A repeat of the bridge with a slightly different arrangement., [02:14.012]-[02:38.002] | Chorus 3 : The final chorus is a bit more resigned and more emotional., [02:38.003]-[03:06.008] | null |
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} | Bridge as Intro : The keyboards, bass, and piano play the bridge before the drums and guitar kick in, [00:00.000]-[00:22.014] | Verse 1 : The vocals are an affected male baritone, but not Gabe - it's a commercial version of him and bordering on parody., [00:22.015]-[00:45.004] | Chorus 1 : The chorus is an easy transition from the verse to the bridge with a sad and ironic lyric which focuses on the failings of Gabe's creative output., [00:45.005]-[01:07.019] | Bridge 2 : The bridge returns with a slightly different arrangement., [01:07.020]-[01:30.008] | Verse 2 : The second verse continues the ironic take on Gabe's creative struggles., [01:30.009]-[01:52.023] | Chorus 2 : Back to the chorus., [01:52.024]-[02:14.011] | Bridge 3 : A repeat of the bridge with a slightly different arrangement., [02:14.012]-[02:38.002] | Chorus 3 : The final chorus is a bit more resigned and more emotional., [02:38.003]-[03:06.008] | null |
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} | Bridge as Intro : The keyboards, bass, and piano play the bridge before the drums and guitar kick in, [00:00.000]-[00:22.014] | Verse 1 : The vocals are an affected male baritone, but not Gabe - it's a commercial version of him and bordering on parody., [00:22.015]-[00:45.004] | Chorus 1 : The chorus is an easy transition from the verse to the bridge with a sad and ironic lyric which focuses on the failings of Gabe's creative output., [00:45.005]-[01:07.019] | Bridge 2 : The bridge returns with a slightly different arrangement., [01:07.020]-[01:30.008] | Verse 2 : The second verse continues the ironic take on Gabe's creative struggles., [01:30.009]-[01:52.023] | Chorus 2 : Back to the chorus., [01:52.024]-[02:14.011] | Bridge 3 : A repeat of the bridge with a slightly different arrangement., [02:14.012]-[02:38.002] | Chorus 3 : The final chorus is a bit more resigned and more emotional., [02:38.003]-[03:06.008] | null |
08_02_seg_0001_track_11 | 0 | 08_02 | 11 | Lead Vocals | null | RainbowPlayer.ALOY | /Volumes/LucidNonsense/White/staged_raw_material/08_02/08_02_14_lead_vox.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/08_02/08_02_seg_0001_track_11.wav | null | 11.007 | 22.014 | 11.007 | true | false | I get the feeling that you've heard what I'm singing, heard it all before | Bridge as Intro | combined | 11.007 | 22.014 | true | End aligned to Bridge as Intro boundary at 22.014s | false | null | 5 | 73 | 14 | 0 | 0 | audio_only | 08_02_11 | 85 | 4 | 4 | G | minor | Violet | Present | Person | Known | null | Read Rile…y | 2025-09-08T00:00:00 | [03:06.008] | true | true | I get the feeling that you've heard what I'm singing, heard it all before So you know if it was up to me, you'd be right here to keep me honest It's nothing new, it might be plagiary not theoretical novelty The well's run out and all the water's muddied Beyond a doubt, beyond the pale You're the only one who counts when I repeat myself I get the feeling that you know what I'm saying, heard it all before As you know if it was up to me, I'd be right there, open to critique It's just a few, loyal listeners left, they're tuning into past frequencies They're taking it in house your pitch was the same last year Beyond a doubt, beyond the sale You're the only one who can count when I repeat myself Running low on clout, my lenders are collecting Beyond a doubt, beyond the tail You're the only one who can count, when I repeat myself | James Blake, discogs_id: 1500084, Harry Styles, discogs_id: 2508414, Lauv, discogs_id: 5047975 | sad, ironic, sadistic | Pop, Rock | 08_02.lrc | A very inside allusion to Fat Albert and The Clash - this song is a focus on one's limitations. The narrator realizes he's done this song before and it sends him into a depressive spiral. | {
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} | Bridge as Intro : The keyboards, bass, and piano play the bridge before the drums and guitar kick in, [00:00.000]-[00:22.014] | Verse 1 : The vocals are an affected male baritone, but not Gabe - it's a commercial version of him and bordering on parody., [00:22.015]-[00:45.004] | Chorus 1 : The chorus is an easy transition from the verse to the bridge with a sad and ironic lyric which focuses on the failings of Gabe's creative output., [00:45.005]-[01:07.019] | Bridge 2 : The bridge returns with a slightly different arrangement., [01:07.020]-[01:30.008] | Verse 2 : The second verse continues the ironic take on Gabe's creative struggles., [01:30.009]-[01:52.023] | Chorus 2 : Back to the chorus., [01:52.024]-[02:14.011] | Bridge 3 : A repeat of the bridge with a slightly different arrangement., [02:14.012]-[02:38.002] | Chorus 3 : The final chorus is a bit more resigned and more emotional., [02:38.003]-[03:06.008] | null |
08_02_seg_0001_track_12 | 0 | 08_02 | 12 | Double Vocals | null | RainbowPlayer.ALOY | /Volumes/LucidNonsense/White/staged_raw_material/08_02/08_02_15_dbl_vox.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/08_02/08_02_seg_0001_track_12.wav | null | 11.007 | 22.014 | 11.007 | true | false | I get the feeling that you've heard what I'm singing, heard it all before | Bridge as Intro | combined | 11.007 | 22.014 | true | End aligned to Bridge as Intro boundary at 22.014s | false | null | 5 | 73 | 14 | 0 | 0 | audio_only | 08_02_12 | 85 | 4 | 4 | G | minor | Violet | Present | Person | Known | null | Read Rile…y | 2025-09-08T00:00:00 | [03:06.008] | true | true | I get the feeling that you've heard what I'm singing, heard it all before So you know if it was up to me, you'd be right here to keep me honest It's nothing new, it might be plagiary not theoretical novelty The well's run out and all the water's muddied Beyond a doubt, beyond the pale You're the only one who counts when I repeat myself I get the feeling that you know what I'm saying, heard it all before As you know if it was up to me, I'd be right there, open to critique It's just a few, loyal listeners left, they're tuning into past frequencies They're taking it in house your pitch was the same last year Beyond a doubt, beyond the sale You're the only one who can count when I repeat myself Running low on clout, my lenders are collecting Beyond a doubt, beyond the tail You're the only one who can count, when I repeat myself | James Blake, discogs_id: 1500084, Harry Styles, discogs_id: 2508414, Lauv, discogs_id: 5047975 | sad, ironic, sadistic | Pop, Rock | 08_02.lrc | A very inside allusion to Fat Albert and The Clash - this song is a focus on one's limitations. The narrator realizes he's done this song before and it sends him into a depressive spiral. | {
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} | Bridge as Intro : The keyboards, bass, and piano play the bridge before the drums and guitar kick in, [00:00.000]-[00:22.014] | Verse 1 : The vocals are an affected male baritone, but not Gabe - it's a commercial version of him and bordering on parody., [00:22.015]-[00:45.004] | Chorus 1 : The chorus is an easy transition from the verse to the bridge with a sad and ironic lyric which focuses on the failings of Gabe's creative output., [00:45.005]-[01:07.019] | Bridge 2 : The bridge returns with a slightly different arrangement., [01:07.020]-[01:30.008] | Verse 2 : The second verse continues the ironic take on Gabe's creative struggles., [01:30.009]-[01:52.023] | Chorus 2 : Back to the chorus., [01:52.024]-[02:14.011] | Bridge 3 : A repeat of the bridge with a slightly different arrangement., [02:14.012]-[02:38.002] | Chorus 3 : The final chorus is a bit more resigned and more emotional., [02:38.003]-[03:06.008] | null |
08_02_seg_0002_track_02 | 1 | 08_02 | 2 | Piano | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/08_02/08_02_03_piano.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/08_02/08_02_seg_0002_track_02.wav | /Volumes/LucidNonsense/White/staged_raw_material/08_02/08_02_02_piano.mid | 22.014 | 33.022 | 11.008 | false | true | So you know if it was up to me, you'd be right here to keep me honest | Verse 1 | combined | 22.014 | 33.022 | true | Start aligned to Bridge as Intro boundary at 22.014s | false | null | 7 | 69 | 17 | 0 | 0 | midi_only | 08_02_2 | 85 | 4 | 4 | G | minor | Violet | Present | Person | Known | null | Read Rile…y | 2025-09-08T00:00:00 | [03:06.008] | true | true | I get the feeling that you've heard what I'm singing, heard it all before So you know if it was up to me, you'd be right here to keep me honest It's nothing new, it might be plagiary not theoretical novelty The well's run out and all the water's muddied Beyond a doubt, beyond the pale You're the only one who counts when I repeat myself I get the feeling that you know what I'm saying, heard it all before As you know if it was up to me, I'd be right there, open to critique It's just a few, loyal listeners left, they're tuning into past frequencies They're taking it in house your pitch was the same last year Beyond a doubt, beyond the sale You're the only one who can count when I repeat myself Running low on clout, my lenders are collecting Beyond a doubt, beyond the tail You're the only one who can count, when I repeat myself | James Blake, discogs_id: 1500084, Harry Styles, discogs_id: 2508414, Lauv, discogs_id: 5047975 | sad, ironic, sadistic | Pop, Rock | 08_02.lrc | A very inside allusion to Fat Albert and The Clash - this song is a focus on one's limitations. The narrator realizes he's done this song before and it sends him into a depressive spiral. | {
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} | Bridge as Intro : The keyboards, bass, and piano play the bridge before the drums and guitar kick in, [00:00.000]-[00:22.014] | Verse 1 : The vocals are an affected male baritone, but not Gabe - it's a commercial version of him and bordering on parody., [00:22.015]-[00:45.004] | Chorus 1 : The chorus is an easy transition from the verse to the bridge with a sad and ironic lyric which focuses on the failings of Gabe's creative output., [00:45.005]-[01:07.019] | Bridge 2 : The bridge returns with a slightly different arrangement., [01:07.020]-[01:30.008] | Verse 2 : The second verse continues the ironic take on Gabe's creative struggles., [01:30.009]-[01:52.023] | Chorus 2 : Back to the chorus., [01:52.024]-[02:14.011] | Bridge 3 : A repeat of the bridge with a slightly different arrangement., [02:14.012]-[02:38.002] | Chorus 3 : The final chorus is a bit more resigned and more emotional., [02:38.003]-[03:06.008] | null |
08_02_seg_0002_track_03 | 1 | 08_02 | 3 | Main Synth | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/08_02/08_02_05_main_synth.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/08_02/08_02_seg_0002_track_03.wav | /Volumes/LucidNonsense/White/staged_raw_material/08_02/08_02_04_main_synth.mid | 22.014 | 33.022 | 11.008 | true | true | So you know if it was up to me, you'd be right here to keep me honest | Verse 1 | combined | 22.014 | 33.022 | true | Start aligned to Bridge as Intro boundary at 22.014s | false | null | 7 | 69 | 17 | 0 | 0 | audio_midi | 08_02_3 | 85 | 4 | 4 | G | minor | Violet | Present | Person | Known | null | Read Rile…y | 2025-09-08T00:00:00 | [03:06.008] | true | true | I get the feeling that you've heard what I'm singing, heard it all before So you know if it was up to me, you'd be right here to keep me honest It's nothing new, it might be plagiary not theoretical novelty The well's run out and all the water's muddied Beyond a doubt, beyond the pale You're the only one who counts when I repeat myself I get the feeling that you know what I'm saying, heard it all before As you know if it was up to me, I'd be right there, open to critique It's just a few, loyal listeners left, they're tuning into past frequencies They're taking it in house your pitch was the same last year Beyond a doubt, beyond the sale You're the only one who can count when I repeat myself Running low on clout, my lenders are collecting Beyond a doubt, beyond the tail You're the only one who can count, when I repeat myself | James Blake, discogs_id: 1500084, Harry Styles, discogs_id: 2508414, Lauv, discogs_id: 5047975 | sad, ironic, sadistic | Pop, Rock | 08_02.lrc | A very inside allusion to Fat Albert and The Clash - this song is a focus on one's limitations. The narrator realizes he's done this song before and it sends him into a depressive spiral. | {
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} | Bridge as Intro : The keyboards, bass, and piano play the bridge before the drums and guitar kick in, [00:00.000]-[00:22.014] | Verse 1 : The vocals are an affected male baritone, but not Gabe - it's a commercial version of him and bordering on parody., [00:22.015]-[00:45.004] | Chorus 1 : The chorus is an easy transition from the verse to the bridge with a sad and ironic lyric which focuses on the failings of Gabe's creative output., [00:45.005]-[01:07.019] | Bridge 2 : The bridge returns with a slightly different arrangement., [01:07.020]-[01:30.008] | Verse 2 : The second verse continues the ironic take on Gabe's creative struggles., [01:30.009]-[01:52.023] | Chorus 2 : Back to the chorus., [01:52.024]-[02:14.011] | Bridge 3 : A repeat of the bridge with a slightly different arrangement., [02:14.012]-[02:38.002] | Chorus 3 : The final chorus is a bit more resigned and more emotional., [02:38.003]-[03:06.008] | null |
08_02_seg_0002_track_04 | 1 | 08_02 | 4 | Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/08_02/08_02_06_guitar.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/08_02/08_02_seg_0002_track_04.wav | null | 22.014 | 33.022 | 11.008 | true | false | So you know if it was up to me, you'd be right here to keep me honest | Verse 1 | combined | 22.014 | 33.022 | true | Start aligned to Bridge as Intro boundary at 22.014s | false | null | 7 | 69 | 17 | 0 | 0 | audio_only | 08_02_4 | 85 | 4 | 4 | G | minor | Violet | Present | Person | Known | null | Read Rile…y | 2025-09-08T00:00:00 | [03:06.008] | true | true | I get the feeling that you've heard what I'm singing, heard it all before So you know if it was up to me, you'd be right here to keep me honest It's nothing new, it might be plagiary not theoretical novelty The well's run out and all the water's muddied Beyond a doubt, beyond the pale You're the only one who counts when I repeat myself I get the feeling that you know what I'm saying, heard it all before As you know if it was up to me, I'd be right there, open to critique It's just a few, loyal listeners left, they're tuning into past frequencies They're taking it in house your pitch was the same last year Beyond a doubt, beyond the sale You're the only one who can count when I repeat myself Running low on clout, my lenders are collecting Beyond a doubt, beyond the tail You're the only one who can count, when I repeat myself | James Blake, discogs_id: 1500084, Harry Styles, discogs_id: 2508414, Lauv, discogs_id: 5047975 | sad, ironic, sadistic | Pop, Rock | 08_02.lrc | A very inside allusion to Fat Albert and The Clash - this song is a focus on one's limitations. The narrator realizes he's done this song before and it sends him into a depressive spiral. | {
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} | Bridge as Intro : The keyboards, bass, and piano play the bridge before the drums and guitar kick in, [00:00.000]-[00:22.014] | Verse 1 : The vocals are an affected male baritone, but not Gabe - it's a commercial version of him and bordering on parody., [00:22.015]-[00:45.004] | Chorus 1 : The chorus is an easy transition from the verse to the bridge with a sad and ironic lyric which focuses on the failings of Gabe's creative output., [00:45.005]-[01:07.019] | Bridge 2 : The bridge returns with a slightly different arrangement., [01:07.020]-[01:30.008] | Verse 2 : The second verse continues the ironic take on Gabe's creative struggles., [01:30.009]-[01:52.023] | Chorus 2 : Back to the chorus., [01:52.024]-[02:14.011] | Bridge 3 : A repeat of the bridge with a slightly different arrangement., [02:14.012]-[02:38.002] | Chorus 3 : The final chorus is a bit more resigned and more emotional., [02:38.003]-[03:06.008] | null |
08_02_seg_0002_track_05 | 1 | 08_02 | 5 | Bass | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/08_02/08_02_07_bass.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/08_02/08_02_seg_0002_track_05.wav | null | 22.014 | 33.022 | 11.008 | true | false | So you know if it was up to me, you'd be right here to keep me honest | Verse 1 | combined | 22.014 | 33.022 | true | Start aligned to Bridge as Intro boundary at 22.014s | false | null | 7 | 69 | 17 | 0 | 0 | audio_only | 08_02_5 | 85 | 4 | 4 | G | minor | Violet | Present | Person | Known | null | Read Rile…y | 2025-09-08T00:00:00 | [03:06.008] | true | true | I get the feeling that you've heard what I'm singing, heard it all before So you know if it was up to me, you'd be right here to keep me honest It's nothing new, it might be plagiary not theoretical novelty The well's run out and all the water's muddied Beyond a doubt, beyond the pale You're the only one who counts when I repeat myself I get the feeling that you know what I'm saying, heard it all before As you know if it was up to me, I'd be right there, open to critique It's just a few, loyal listeners left, they're tuning into past frequencies They're taking it in house your pitch was the same last year Beyond a doubt, beyond the sale You're the only one who can count when I repeat myself Running low on clout, my lenders are collecting Beyond a doubt, beyond the tail You're the only one who can count, when I repeat myself | James Blake, discogs_id: 1500084, Harry Styles, discogs_id: 2508414, Lauv, discogs_id: 5047975 | sad, ironic, sadistic | Pop, Rock | 08_02.lrc | A very inside allusion to Fat Albert and The Clash - this song is a focus on one's limitations. The narrator realizes he's done this song before and it sends him into a depressive spiral. | {
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} | Bridge as Intro : The keyboards, bass, and piano play the bridge before the drums and guitar kick in, [00:00.000]-[00:22.014] | Verse 1 : The vocals are an affected male baritone, but not Gabe - it's a commercial version of him and bordering on parody., [00:22.015]-[00:45.004] | Chorus 1 : The chorus is an easy transition from the verse to the bridge with a sad and ironic lyric which focuses on the failings of Gabe's creative output., [00:45.005]-[01:07.019] | Bridge 2 : The bridge returns with a slightly different arrangement., [01:07.020]-[01:30.008] | Verse 2 : The second verse continues the ironic take on Gabe's creative struggles., [01:30.009]-[01:52.023] | Chorus 2 : Back to the chorus., [01:52.024]-[02:14.011] | Bridge 3 : A repeat of the bridge with a slightly different arrangement., [02:14.012]-[02:38.002] | Chorus 3 : The final chorus is a bit more resigned and more emotional., [02:38.003]-[03:06.008] | null |
08_02_seg_0002_track_06 | 1 | 08_02 | 6 | Drums | Drums | RainbowPlayer.GRAHAM | /Volumes/LucidNonsense/White/staged_raw_material/08_02/08_02_08_drums.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/08_02/08_02_seg_0002_track_06.wav | null | 22.014 | 33.022 | 11.008 | true | false | So you know if it was up to me, you'd be right here to keep me honest | Verse 1 | combined | 22.014 | 33.022 | true | Start aligned to Bridge as Intro boundary at 22.014s | false | null | 7 | 69 | 17 | 0 | 0 | audio_only | 08_02_6 | 85 | 4 | 4 | G | minor | Violet | Present | Person | Known | null | Read Rile…y | 2025-09-08T00:00:00 | [03:06.008] | true | true | I get the feeling that you've heard what I'm singing, heard it all before So you know if it was up to me, you'd be right here to keep me honest It's nothing new, it might be plagiary not theoretical novelty The well's run out and all the water's muddied Beyond a doubt, beyond the pale You're the only one who counts when I repeat myself I get the feeling that you know what I'm saying, heard it all before As you know if it was up to me, I'd be right there, open to critique It's just a few, loyal listeners left, they're tuning into past frequencies They're taking it in house your pitch was the same last year Beyond a doubt, beyond the sale You're the only one who can count when I repeat myself Running low on clout, my lenders are collecting Beyond a doubt, beyond the tail You're the only one who can count, when I repeat myself | James Blake, discogs_id: 1500084, Harry Styles, discogs_id: 2508414, Lauv, discogs_id: 5047975 | sad, ironic, sadistic | Pop, Rock | 08_02.lrc | A very inside allusion to Fat Albert and The Clash - this song is a focus on one's limitations. The narrator realizes he's done this song before and it sends him into a depressive spiral. | {
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} | Bridge as Intro : The keyboards, bass, and piano play the bridge before the drums and guitar kick in, [00:00.000]-[00:22.014] | Verse 1 : The vocals are an affected male baritone, but not Gabe - it's a commercial version of him and bordering on parody., [00:22.015]-[00:45.004] | Chorus 1 : The chorus is an easy transition from the verse to the bridge with a sad and ironic lyric which focuses on the failings of Gabe's creative output., [00:45.005]-[01:07.019] | Bridge 2 : The bridge returns with a slightly different arrangement., [01:07.020]-[01:30.008] | Verse 2 : The second verse continues the ironic take on Gabe's creative struggles., [01:30.009]-[01:52.023] | Chorus 2 : Back to the chorus., [01:52.024]-[02:14.011] | Bridge 3 : A repeat of the bridge with a slightly different arrangement., [02:14.012]-[02:38.002] | Chorus 3 : The final chorus is a bit more resigned and more emotional., [02:38.003]-[03:06.008] | null |
08_02_seg_0002_track_07 | 1 | 08_02 | 7 | Kick | Drums | RainbowPlayer.GRAHAM | /Volumes/LucidNonsense/White/staged_raw_material/08_02/08_02_10_kick.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/08_02/08_02_seg_0002_track_07.wav | /Volumes/LucidNonsense/White/staged_raw_material/08_02/08_02_09_kick.mid | 22.014 | 33.022 | 11.008 | true | true | So you know if it was up to me, you'd be right here to keep me honest | Verse 1 | combined | 22.014 | 33.022 | true | Start aligned to Bridge as Intro boundary at 22.014s | false | null | 7 | 69 | 17 | 0 | 0 | audio_midi | 08_02_7 | 85 | 4 | 4 | G | minor | Violet | Present | Person | Known | null | Read Rile…y | 2025-09-08T00:00:00 | [03:06.008] | true | true | I get the feeling that you've heard what I'm singing, heard it all before So you know if it was up to me, you'd be right here to keep me honest It's nothing new, it might be plagiary not theoretical novelty The well's run out and all the water's muddied Beyond a doubt, beyond the pale You're the only one who counts when I repeat myself I get the feeling that you know what I'm saying, heard it all before As you know if it was up to me, I'd be right there, open to critique It's just a few, loyal listeners left, they're tuning into past frequencies They're taking it in house your pitch was the same last year Beyond a doubt, beyond the sale You're the only one who can count when I repeat myself Running low on clout, my lenders are collecting Beyond a doubt, beyond the tail You're the only one who can count, when I repeat myself | James Blake, discogs_id: 1500084, Harry Styles, discogs_id: 2508414, Lauv, discogs_id: 5047975 | sad, ironic, sadistic | Pop, Rock | 08_02.lrc | A very inside allusion to Fat Albert and The Clash - this song is a focus on one's limitations. The narrator realizes he's done this song before and it sends him into a depressive spiral. | {
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} | Bridge as Intro : The keyboards, bass, and piano play the bridge before the drums and guitar kick in, [00:00.000]-[00:22.014] | Verse 1 : The vocals are an affected male baritone, but not Gabe - it's a commercial version of him and bordering on parody., [00:22.015]-[00:45.004] | Chorus 1 : The chorus is an easy transition from the verse to the bridge with a sad and ironic lyric which focuses on the failings of Gabe's creative output., [00:45.005]-[01:07.019] | Bridge 2 : The bridge returns with a slightly different arrangement., [01:07.020]-[01:30.008] | Verse 2 : The second verse continues the ironic take on Gabe's creative struggles., [01:30.009]-[01:52.023] | Chorus 2 : Back to the chorus., [01:52.024]-[02:14.011] | Bridge 3 : A repeat of the bridge with a slightly different arrangement., [02:14.012]-[02:38.002] | Chorus 3 : The final chorus is a bit more resigned and more emotional., [02:38.003]-[03:06.008] | null |
08_02_seg_0002_track_08 | 1 | 08_02 | 8 | Snare | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/08_02/08_02_11_snare.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/08_02/08_02_seg_0002_track_08.wav | null | 22.014 | 33.022 | 11.008 | true | false | So you know if it was up to me, you'd be right here to keep me honest | Verse 1 | combined | 22.014 | 33.022 | true | Start aligned to Bridge as Intro boundary at 22.014s | false | null | 7 | 69 | 17 | 0 | 0 | audio_only | 08_02_8 | 85 | 4 | 4 | G | minor | Violet | Present | Person | Known | null | Read Rile…y | 2025-09-08T00:00:00 | [03:06.008] | true | true | I get the feeling that you've heard what I'm singing, heard it all before So you know if it was up to me, you'd be right here to keep me honest It's nothing new, it might be plagiary not theoretical novelty The well's run out and all the water's muddied Beyond a doubt, beyond the pale You're the only one who counts when I repeat myself I get the feeling that you know what I'm saying, heard it all before As you know if it was up to me, I'd be right there, open to critique It's just a few, loyal listeners left, they're tuning into past frequencies They're taking it in house your pitch was the same last year Beyond a doubt, beyond the sale You're the only one who can count when I repeat myself Running low on clout, my lenders are collecting Beyond a doubt, beyond the tail You're the only one who can count, when I repeat myself | James Blake, discogs_id: 1500084, Harry Styles, discogs_id: 2508414, Lauv, discogs_id: 5047975 | sad, ironic, sadistic | Pop, Rock | 08_02.lrc | A very inside allusion to Fat Albert and The Clash - this song is a focus on one's limitations. The narrator realizes he's done this song before and it sends him into a depressive spiral. | {
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} | Bridge as Intro : The keyboards, bass, and piano play the bridge before the drums and guitar kick in, [00:00.000]-[00:22.014] | Verse 1 : The vocals are an affected male baritone, but not Gabe - it's a commercial version of him and bordering on parody., [00:22.015]-[00:45.004] | Chorus 1 : The chorus is an easy transition from the verse to the bridge with a sad and ironic lyric which focuses on the failings of Gabe's creative output., [00:45.005]-[01:07.019] | Bridge 2 : The bridge returns with a slightly different arrangement., [01:07.020]-[01:30.008] | Verse 2 : The second verse continues the ironic take on Gabe's creative struggles., [01:30.009]-[01:52.023] | Chorus 2 : Back to the chorus., [01:52.024]-[02:14.011] | Bridge 3 : A repeat of the bridge with a slightly different arrangement., [02:14.012]-[02:38.002] | Chorus 3 : The final chorus is a bit more resigned and more emotional., [02:38.003]-[03:06.008] | null |
08_02_seg_0002_track_09 | 1 | 08_02 | 9 | Hihat | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/08_02/08_02_12_hh.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/08_02/08_02_seg_0002_track_09.wav | null | 22.014 | 33.022 | 11.008 | true | false | So you know if it was up to me, you'd be right here to keep me honest | Verse 1 | combined | 22.014 | 33.022 | true | Start aligned to Bridge as Intro boundary at 22.014s | false | null | 7 | 69 | 17 | 0 | 0 | audio_only | 08_02_9 | 85 | 4 | 4 | G | minor | Violet | Present | Person | Known | null | Read Rile…y | 2025-09-08T00:00:00 | [03:06.008] | true | true | I get the feeling that you've heard what I'm singing, heard it all before So you know if it was up to me, you'd be right here to keep me honest It's nothing new, it might be plagiary not theoretical novelty The well's run out and all the water's muddied Beyond a doubt, beyond the pale You're the only one who counts when I repeat myself I get the feeling that you know what I'm saying, heard it all before As you know if it was up to me, I'd be right there, open to critique It's just a few, loyal listeners left, they're tuning into past frequencies They're taking it in house your pitch was the same last year Beyond a doubt, beyond the sale You're the only one who can count when I repeat myself Running low on clout, my lenders are collecting Beyond a doubt, beyond the tail You're the only one who can count, when I repeat myself | James Blake, discogs_id: 1500084, Harry Styles, discogs_id: 2508414, Lauv, discogs_id: 5047975 | sad, ironic, sadistic | Pop, Rock | 08_02.lrc | A very inside allusion to Fat Albert and The Clash - this song is a focus on one's limitations. The narrator realizes he's done this song before and it sends him into a depressive spiral. | {
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} | Bridge as Intro : The keyboards, bass, and piano play the bridge before the drums and guitar kick in, [00:00.000]-[00:22.014] | Verse 1 : The vocals are an affected male baritone, but not Gabe - it's a commercial version of him and bordering on parody., [00:22.015]-[00:45.004] | Chorus 1 : The chorus is an easy transition from the verse to the bridge with a sad and ironic lyric which focuses on the failings of Gabe's creative output., [00:45.005]-[01:07.019] | Bridge 2 : The bridge returns with a slightly different arrangement., [01:07.020]-[01:30.008] | Verse 2 : The second verse continues the ironic take on Gabe's creative struggles., [01:30.009]-[01:52.023] | Chorus 2 : Back to the chorus., [01:52.024]-[02:14.011] | Bridge 3 : A repeat of the bridge with a slightly different arrangement., [02:14.012]-[02:38.002] | Chorus 3 : The final chorus is a bit more resigned and more emotional., [02:38.003]-[03:06.008] | null |
08_02_seg_0002_track_11 | 1 | 08_02 | 11 | Lead Vocals | null | RainbowPlayer.ALOY | /Volumes/LucidNonsense/White/staged_raw_material/08_02/08_02_14_lead_vox.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/08_02/08_02_seg_0002_track_11.wav | null | 22.014 | 33.022 | 11.008 | true | false | So you know if it was up to me, you'd be right here to keep me honest | Verse 1 | combined | 22.014 | 33.022 | true | Start aligned to Bridge as Intro boundary at 22.014s | false | null | 7 | 69 | 17 | 0 | 0 | audio_only | 08_02_11 | 85 | 4 | 4 | G | minor | Violet | Present | Person | Known | null | Read Rile…y | 2025-09-08T00:00:00 | [03:06.008] | true | true | I get the feeling that you've heard what I'm singing, heard it all before So you know if it was up to me, you'd be right here to keep me honest It's nothing new, it might be plagiary not theoretical novelty The well's run out and all the water's muddied Beyond a doubt, beyond the pale You're the only one who counts when I repeat myself I get the feeling that you know what I'm saying, heard it all before As you know if it was up to me, I'd be right there, open to critique It's just a few, loyal listeners left, they're tuning into past frequencies They're taking it in house your pitch was the same last year Beyond a doubt, beyond the sale You're the only one who can count when I repeat myself Running low on clout, my lenders are collecting Beyond a doubt, beyond the tail You're the only one who can count, when I repeat myself | James Blake, discogs_id: 1500084, Harry Styles, discogs_id: 2508414, Lauv, discogs_id: 5047975 | sad, ironic, sadistic | Pop, Rock | 08_02.lrc | A very inside allusion to Fat Albert and The Clash - this song is a focus on one's limitations. The narrator realizes he's done this song before and it sends him into a depressive spiral. | {
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} | Bridge as Intro : The keyboards, bass, and piano play the bridge before the drums and guitar kick in, [00:00.000]-[00:22.014] | Verse 1 : The vocals are an affected male baritone, but not Gabe - it's a commercial version of him and bordering on parody., [00:22.015]-[00:45.004] | Chorus 1 : The chorus is an easy transition from the verse to the bridge with a sad and ironic lyric which focuses on the failings of Gabe's creative output., [00:45.005]-[01:07.019] | Bridge 2 : The bridge returns with a slightly different arrangement., [01:07.020]-[01:30.008] | Verse 2 : The second verse continues the ironic take on Gabe's creative struggles., [01:30.009]-[01:52.023] | Chorus 2 : Back to the chorus., [01:52.024]-[02:14.011] | Bridge 3 : A repeat of the bridge with a slightly different arrangement., [02:14.012]-[02:38.002] | Chorus 3 : The final chorus is a bit more resigned and more emotional., [02:38.003]-[03:06.008] | null |
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} | Bridge as Intro : The keyboards, bass, and piano play the bridge before the drums and guitar kick in, [00:00.000]-[00:22.014] | Verse 1 : The vocals are an affected male baritone, but not Gabe - it's a commercial version of him and bordering on parody., [00:22.015]-[00:45.004] | Chorus 1 : The chorus is an easy transition from the verse to the bridge with a sad and ironic lyric which focuses on the failings of Gabe's creative output., [00:45.005]-[01:07.019] | Bridge 2 : The bridge returns with a slightly different arrangement., [01:07.020]-[01:30.008] | Verse 2 : The second verse continues the ironic take on Gabe's creative struggles., [01:30.009]-[01:52.023] | Chorus 2 : Back to the chorus., [01:52.024]-[02:14.011] | Bridge 3 : A repeat of the bridge with a slightly different arrangement., [02:14.012]-[02:38.002] | Chorus 3 : The final chorus is a bit more resigned and more emotional., [02:38.003]-[03:06.008] | null |
08_02_seg_0003_track_02 | 2 | 08_02 | 2 | Piano | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/08_02/08_02_03_piano.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/08_02/08_02_seg_0003_track_02.wav | /Volumes/LucidNonsense/White/staged_raw_material/08_02/08_02_02_piano.mid | 33.022 | 45.005 | 11.983 | false | true | It's nothing new, it might be plagiary not theoretical novelty | Verse 1 | combined | 33.022 | 45.022 | true | End aligned to Chorus 1 boundary at 45.005s | false | null | 9 | 62 | 10 | 0 | -0.017 | midi_only | 08_02_2 | 85 | 4 | 4 | G | minor | Violet | Present | Person | Known | null | Read Rile…y | 2025-09-08T00:00:00 | [03:06.008] | true | true | I get the feeling that you've heard what I'm singing, heard it all before So you know if it was up to me, you'd be right here to keep me honest It's nothing new, it might be plagiary not theoretical novelty The well's run out and all the water's muddied Beyond a doubt, beyond the pale You're the only one who counts when I repeat myself I get the feeling that you know what I'm saying, heard it all before As you know if it was up to me, I'd be right there, open to critique It's just a few, loyal listeners left, they're tuning into past frequencies They're taking it in house your pitch was the same last year Beyond a doubt, beyond the sale You're the only one who can count when I repeat myself Running low on clout, my lenders are collecting Beyond a doubt, beyond the tail You're the only one who can count, when I repeat myself | James Blake, discogs_id: 1500084, Harry Styles, discogs_id: 2508414, Lauv, discogs_id: 5047975 | sad, ironic, sadistic | Pop, Rock | 08_02.lrc | A very inside allusion to Fat Albert and The Clash - this song is a focus on one's limitations. The narrator realizes he's done this song before and it sends him into a depressive spiral. | {
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} | Bridge as Intro : The keyboards, bass, and piano play the bridge before the drums and guitar kick in, [00:00.000]-[00:22.014] | Verse 1 : The vocals are an affected male baritone, but not Gabe - it's a commercial version of him and bordering on parody., [00:22.015]-[00:45.004] | Chorus 1 : The chorus is an easy transition from the verse to the bridge with a sad and ironic lyric which focuses on the failings of Gabe's creative output., [00:45.005]-[01:07.019] | Bridge 2 : The bridge returns with a slightly different arrangement., [01:07.020]-[01:30.008] | Verse 2 : The second verse continues the ironic take on Gabe's creative struggles., [01:30.009]-[01:52.023] | Chorus 2 : Back to the chorus., [01:52.024]-[02:14.011] | Bridge 3 : A repeat of the bridge with a slightly different arrangement., [02:14.012]-[02:38.002] | Chorus 3 : The final chorus is a bit more resigned and more emotional., [02:38.003]-[03:06.008] | null |
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} | Bridge as Intro : The keyboards, bass, and piano play the bridge before the drums and guitar kick in, [00:00.000]-[00:22.014] | Verse 1 : The vocals are an affected male baritone, but not Gabe - it's a commercial version of him and bordering on parody., [00:22.015]-[00:45.004] | Chorus 1 : The chorus is an easy transition from the verse to the bridge with a sad and ironic lyric which focuses on the failings of Gabe's creative output., [00:45.005]-[01:07.019] | Bridge 2 : The bridge returns with a slightly different arrangement., [01:07.020]-[01:30.008] | Verse 2 : The second verse continues the ironic take on Gabe's creative struggles., [01:30.009]-[01:52.023] | Chorus 2 : Back to the chorus., [01:52.024]-[02:14.011] | Bridge 3 : A repeat of the bridge with a slightly different arrangement., [02:14.012]-[02:38.002] | Chorus 3 : The final chorus is a bit more resigned and more emotional., [02:38.003]-[03:06.008] | null |
08_02_seg_0003_track_04 | 2 | 08_02 | 4 | Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/08_02/08_02_06_guitar.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/08_02/08_02_seg_0003_track_04.wav | null | 33.022 | 45.005 | 11.983 | true | false | It's nothing new, it might be plagiary not theoretical novelty | Verse 1 | combined | 33.022 | 45.022 | true | End aligned to Chorus 1 boundary at 45.005s | false | null | 9 | 62 | 10 | 0 | -0.017 | audio_only | 08_02_4 | 85 | 4 | 4 | G | minor | Violet | Present | Person | Known | null | Read Rile…y | 2025-09-08T00:00:00 | [03:06.008] | true | true | I get the feeling that you've heard what I'm singing, heard it all before So you know if it was up to me, you'd be right here to keep me honest It's nothing new, it might be plagiary not theoretical novelty The well's run out and all the water's muddied Beyond a doubt, beyond the pale You're the only one who counts when I repeat myself I get the feeling that you know what I'm saying, heard it all before As you know if it was up to me, I'd be right there, open to critique It's just a few, loyal listeners left, they're tuning into past frequencies They're taking it in house your pitch was the same last year Beyond a doubt, beyond the sale You're the only one who can count when I repeat myself Running low on clout, my lenders are collecting Beyond a doubt, beyond the tail You're the only one who can count, when I repeat myself | James Blake, discogs_id: 1500084, Harry Styles, discogs_id: 2508414, Lauv, discogs_id: 5047975 | sad, ironic, sadistic | Pop, Rock | 08_02.lrc | A very inside allusion to Fat Albert and The Clash - this song is a focus on one's limitations. The narrator realizes he's done this song before and it sends him into a depressive spiral. | {
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} | Bridge as Intro : The keyboards, bass, and piano play the bridge before the drums and guitar kick in, [00:00.000]-[00:22.014] | Verse 1 : The vocals are an affected male baritone, but not Gabe - it's a commercial version of him and bordering on parody., [00:22.015]-[00:45.004] | Chorus 1 : The chorus is an easy transition from the verse to the bridge with a sad and ironic lyric which focuses on the failings of Gabe's creative output., [00:45.005]-[01:07.019] | Bridge 2 : The bridge returns with a slightly different arrangement., [01:07.020]-[01:30.008] | Verse 2 : The second verse continues the ironic take on Gabe's creative struggles., [01:30.009]-[01:52.023] | Chorus 2 : Back to the chorus., [01:52.024]-[02:14.011] | Bridge 3 : A repeat of the bridge with a slightly different arrangement., [02:14.012]-[02:38.002] | Chorus 3 : The final chorus is a bit more resigned and more emotional., [02:38.003]-[03:06.008] | null |
08_02_seg_0003_track_05 | 2 | 08_02 | 5 | Bass | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/08_02/08_02_07_bass.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/08_02/08_02_seg_0003_track_05.wav | null | 33.022 | 45.005 | 11.983 | true | false | It's nothing new, it might be plagiary not theoretical novelty | Verse 1 | combined | 33.022 | 45.022 | true | End aligned to Chorus 1 boundary at 45.005s | false | null | 9 | 62 | 10 | 0 | -0.017 | audio_only | 08_02_5 | 85 | 4 | 4 | G | minor | Violet | Present | Person | Known | null | Read Rile…y | 2025-09-08T00:00:00 | [03:06.008] | true | true | I get the feeling that you've heard what I'm singing, heard it all before So you know if it was up to me, you'd be right here to keep me honest It's nothing new, it might be plagiary not theoretical novelty The well's run out and all the water's muddied Beyond a doubt, beyond the pale You're the only one who counts when I repeat myself I get the feeling that you know what I'm saying, heard it all before As you know if it was up to me, I'd be right there, open to critique It's just a few, loyal listeners left, they're tuning into past frequencies They're taking it in house your pitch was the same last year Beyond a doubt, beyond the sale You're the only one who can count when I repeat myself Running low on clout, my lenders are collecting Beyond a doubt, beyond the tail You're the only one who can count, when I repeat myself | James Blake, discogs_id: 1500084, Harry Styles, discogs_id: 2508414, Lauv, discogs_id: 5047975 | sad, ironic, sadistic | Pop, Rock | 08_02.lrc | A very inside allusion to Fat Albert and The Clash - this song is a focus on one's limitations. The narrator realizes he's done this song before and it sends him into a depressive spiral. | {
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} | Bridge as Intro : The keyboards, bass, and piano play the bridge before the drums and guitar kick in, [00:00.000]-[00:22.014] | Verse 1 : The vocals are an affected male baritone, but not Gabe - it's a commercial version of him and bordering on parody., [00:22.015]-[00:45.004] | Chorus 1 : The chorus is an easy transition from the verse to the bridge with a sad and ironic lyric which focuses on the failings of Gabe's creative output., [00:45.005]-[01:07.019] | Bridge 2 : The bridge returns with a slightly different arrangement., [01:07.020]-[01:30.008] | Verse 2 : The second verse continues the ironic take on Gabe's creative struggles., [01:30.009]-[01:52.023] | Chorus 2 : Back to the chorus., [01:52.024]-[02:14.011] | Bridge 3 : A repeat of the bridge with a slightly different arrangement., [02:14.012]-[02:38.002] | Chorus 3 : The final chorus is a bit more resigned and more emotional., [02:38.003]-[03:06.008] | null |
08_02_seg_0003_track_06 | 2 | 08_02 | 6 | Drums | Drums | RainbowPlayer.GRAHAM | /Volumes/LucidNonsense/White/staged_raw_material/08_02/08_02_08_drums.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/08_02/08_02_seg_0003_track_06.wav | null | 33.022 | 45.005 | 11.983 | true | false | It's nothing new, it might be plagiary not theoretical novelty | Verse 1 | combined | 33.022 | 45.022 | true | End aligned to Chorus 1 boundary at 45.005s | false | null | 9 | 62 | 10 | 0 | -0.017 | audio_only | 08_02_6 | 85 | 4 | 4 | G | minor | Violet | Present | Person | Known | null | Read Rile…y | 2025-09-08T00:00:00 | [03:06.008] | true | true | I get the feeling that you've heard what I'm singing, heard it all before So you know if it was up to me, you'd be right here to keep me honest It's nothing new, it might be plagiary not theoretical novelty The well's run out and all the water's muddied Beyond a doubt, beyond the pale You're the only one who counts when I repeat myself I get the feeling that you know what I'm saying, heard it all before As you know if it was up to me, I'd be right there, open to critique It's just a few, loyal listeners left, they're tuning into past frequencies They're taking it in house your pitch was the same last year Beyond a doubt, beyond the sale You're the only one who can count when I repeat myself Running low on clout, my lenders are collecting Beyond a doubt, beyond the tail You're the only one who can count, when I repeat myself | James Blake, discogs_id: 1500084, Harry Styles, discogs_id: 2508414, Lauv, discogs_id: 5047975 | sad, ironic, sadistic | Pop, Rock | 08_02.lrc | A very inside allusion to Fat Albert and The Clash - this song is a focus on one's limitations. The narrator realizes he's done this song before and it sends him into a depressive spiral. | {
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} | Bridge as Intro : The keyboards, bass, and piano play the bridge before the drums and guitar kick in, [00:00.000]-[00:22.014] | Verse 1 : The vocals are an affected male baritone, but not Gabe - it's a commercial version of him and bordering on parody., [00:22.015]-[00:45.004] | Chorus 1 : The chorus is an easy transition from the verse to the bridge with a sad and ironic lyric which focuses on the failings of Gabe's creative output., [00:45.005]-[01:07.019] | Bridge 2 : The bridge returns with a slightly different arrangement., [01:07.020]-[01:30.008] | Verse 2 : The second verse continues the ironic take on Gabe's creative struggles., [01:30.009]-[01:52.023] | Chorus 2 : Back to the chorus., [01:52.024]-[02:14.011] | Bridge 3 : A repeat of the bridge with a slightly different arrangement., [02:14.012]-[02:38.002] | Chorus 3 : The final chorus is a bit more resigned and more emotional., [02:38.003]-[03:06.008] | null |
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} | Bridge as Intro : The keyboards, bass, and piano play the bridge before the drums and guitar kick in, [00:00.000]-[00:22.014] | Verse 1 : The vocals are an affected male baritone, but not Gabe - it's a commercial version of him and bordering on parody., [00:22.015]-[00:45.004] | Chorus 1 : The chorus is an easy transition from the verse to the bridge with a sad and ironic lyric which focuses on the failings of Gabe's creative output., [00:45.005]-[01:07.019] | Bridge 2 : The bridge returns with a slightly different arrangement., [01:07.020]-[01:30.008] | Verse 2 : The second verse continues the ironic take on Gabe's creative struggles., [01:30.009]-[01:52.023] | Chorus 2 : Back to the chorus., [01:52.024]-[02:14.011] | Bridge 3 : A repeat of the bridge with a slightly different arrangement., [02:14.012]-[02:38.002] | Chorus 3 : The final chorus is a bit more resigned and more emotional., [02:38.003]-[03:06.008] | null |
08_02_seg_0003_track_08 | 2 | 08_02 | 8 | Snare | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/08_02/08_02_11_snare.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/08_02/08_02_seg_0003_track_08.wav | null | 33.022 | 45.005 | 11.983 | true | false | It's nothing new, it might be plagiary not theoretical novelty | Verse 1 | combined | 33.022 | 45.022 | true | End aligned to Chorus 1 boundary at 45.005s | false | null | 9 | 62 | 10 | 0 | -0.017 | audio_only | 08_02_8 | 85 | 4 | 4 | G | minor | Violet | Present | Person | Known | null | Read Rile…y | 2025-09-08T00:00:00 | [03:06.008] | true | true | I get the feeling that you've heard what I'm singing, heard it all before So you know if it was up to me, you'd be right here to keep me honest It's nothing new, it might be plagiary not theoretical novelty The well's run out and all the water's muddied Beyond a doubt, beyond the pale You're the only one who counts when I repeat myself I get the feeling that you know what I'm saying, heard it all before As you know if it was up to me, I'd be right there, open to critique It's just a few, loyal listeners left, they're tuning into past frequencies They're taking it in house your pitch was the same last year Beyond a doubt, beyond the sale You're the only one who can count when I repeat myself Running low on clout, my lenders are collecting Beyond a doubt, beyond the tail You're the only one who can count, when I repeat myself | James Blake, discogs_id: 1500084, Harry Styles, discogs_id: 2508414, Lauv, discogs_id: 5047975 | sad, ironic, sadistic | Pop, Rock | 08_02.lrc | A very inside allusion to Fat Albert and The Clash - this song is a focus on one's limitations. The narrator realizes he's done this song before and it sends him into a depressive spiral. | {
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} | Bridge as Intro : The keyboards, bass, and piano play the bridge before the drums and guitar kick in, [00:00.000]-[00:22.014] | Verse 1 : The vocals are an affected male baritone, but not Gabe - it's a commercial version of him and bordering on parody., [00:22.015]-[00:45.004] | Chorus 1 : The chorus is an easy transition from the verse to the bridge with a sad and ironic lyric which focuses on the failings of Gabe's creative output., [00:45.005]-[01:07.019] | Bridge 2 : The bridge returns with a slightly different arrangement., [01:07.020]-[01:30.008] | Verse 2 : The second verse continues the ironic take on Gabe's creative struggles., [01:30.009]-[01:52.023] | Chorus 2 : Back to the chorus., [01:52.024]-[02:14.011] | Bridge 3 : A repeat of the bridge with a slightly different arrangement., [02:14.012]-[02:38.002] | Chorus 3 : The final chorus is a bit more resigned and more emotional., [02:38.003]-[03:06.008] | null |
08_02_seg_0003_track_09 | 2 | 08_02 | 9 | Hihat | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/08_02/08_02_12_hh.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/08_02/08_02_seg_0003_track_09.wav | null | 33.022 | 45.005 | 11.983 | true | false | It's nothing new, it might be plagiary not theoretical novelty | Verse 1 | combined | 33.022 | 45.022 | true | End aligned to Chorus 1 boundary at 45.005s | false | null | 9 | 62 | 10 | 0 | -0.017 | audio_only | 08_02_9 | 85 | 4 | 4 | G | minor | Violet | Present | Person | Known | null | Read Rile…y | 2025-09-08T00:00:00 | [03:06.008] | true | true | I get the feeling that you've heard what I'm singing, heard it all before So you know if it was up to me, you'd be right here to keep me honest It's nothing new, it might be plagiary not theoretical novelty The well's run out and all the water's muddied Beyond a doubt, beyond the pale You're the only one who counts when I repeat myself I get the feeling that you know what I'm saying, heard it all before As you know if it was up to me, I'd be right there, open to critique It's just a few, loyal listeners left, they're tuning into past frequencies They're taking it in house your pitch was the same last year Beyond a doubt, beyond the sale You're the only one who can count when I repeat myself Running low on clout, my lenders are collecting Beyond a doubt, beyond the tail You're the only one who can count, when I repeat myself | James Blake, discogs_id: 1500084, Harry Styles, discogs_id: 2508414, Lauv, discogs_id: 5047975 | sad, ironic, sadistic | Pop, Rock | 08_02.lrc | A very inside allusion to Fat Albert and The Clash - this song is a focus on one's limitations. The narrator realizes he's done this song before and it sends him into a depressive spiral. | {
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} | Bridge as Intro : The keyboards, bass, and piano play the bridge before the drums and guitar kick in, [00:00.000]-[00:22.014] | Verse 1 : The vocals are an affected male baritone, but not Gabe - it's a commercial version of him and bordering on parody., [00:22.015]-[00:45.004] | Chorus 1 : The chorus is an easy transition from the verse to the bridge with a sad and ironic lyric which focuses on the failings of Gabe's creative output., [00:45.005]-[01:07.019] | Bridge 2 : The bridge returns with a slightly different arrangement., [01:07.020]-[01:30.008] | Verse 2 : The second verse continues the ironic take on Gabe's creative struggles., [01:30.009]-[01:52.023] | Chorus 2 : Back to the chorus., [01:52.024]-[02:14.011] | Bridge 3 : A repeat of the bridge with a slightly different arrangement., [02:14.012]-[02:38.002] | Chorus 3 : The final chorus is a bit more resigned and more emotional., [02:38.003]-[03:06.008] | null |
08_02_seg_0003_track_11 | 2 | 08_02 | 11 | Lead Vocals | null | RainbowPlayer.ALOY | /Volumes/LucidNonsense/White/staged_raw_material/08_02/08_02_14_lead_vox.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/08_02/08_02_seg_0003_track_11.wav | null | 33.022 | 45.005 | 11.983 | true | false | It's nothing new, it might be plagiary not theoretical novelty | Verse 1 | combined | 33.022 | 45.022 | true | End aligned to Chorus 1 boundary at 45.005s | false | null | 9 | 62 | 10 | 0 | -0.017 | audio_only | 08_02_11 | 85 | 4 | 4 | G | minor | Violet | Present | Person | Known | null | Read Rile…y | 2025-09-08T00:00:00 | [03:06.008] | true | true | I get the feeling that you've heard what I'm singing, heard it all before So you know if it was up to me, you'd be right here to keep me honest It's nothing new, it might be plagiary not theoretical novelty The well's run out and all the water's muddied Beyond a doubt, beyond the pale You're the only one who counts when I repeat myself I get the feeling that you know what I'm saying, heard it all before As you know if it was up to me, I'd be right there, open to critique It's just a few, loyal listeners left, they're tuning into past frequencies They're taking it in house your pitch was the same last year Beyond a doubt, beyond the sale You're the only one who can count when I repeat myself Running low on clout, my lenders are collecting Beyond a doubt, beyond the tail You're the only one who can count, when I repeat myself | James Blake, discogs_id: 1500084, Harry Styles, discogs_id: 2508414, Lauv, discogs_id: 5047975 | sad, ironic, sadistic | Pop, Rock | 08_02.lrc | A very inside allusion to Fat Albert and The Clash - this song is a focus on one's limitations. The narrator realizes he's done this song before and it sends him into a depressive spiral. | {
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} | Bridge as Intro : The keyboards, bass, and piano play the bridge before the drums and guitar kick in, [00:00.000]-[00:22.014] | Verse 1 : The vocals are an affected male baritone, but not Gabe - it's a commercial version of him and bordering on parody., [00:22.015]-[00:45.004] | Chorus 1 : The chorus is an easy transition from the verse to the bridge with a sad and ironic lyric which focuses on the failings of Gabe's creative output., [00:45.005]-[01:07.019] | Bridge 2 : The bridge returns with a slightly different arrangement., [01:07.020]-[01:30.008] | Verse 2 : The second verse continues the ironic take on Gabe's creative struggles., [01:30.009]-[01:52.023] | Chorus 2 : Back to the chorus., [01:52.024]-[02:14.011] | Bridge 3 : A repeat of the bridge with a slightly different arrangement., [02:14.012]-[02:38.002] | Chorus 3 : The final chorus is a bit more resigned and more emotional., [02:38.003]-[03:06.008] | null |
08_02_seg_0003_track_12 | 2 | 08_02 | 12 | Double Vocals | null | RainbowPlayer.ALOY | /Volumes/LucidNonsense/White/staged_raw_material/08_02/08_02_15_dbl_vox.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/08_02/08_02_seg_0003_track_12.wav | null | 33.022 | 45.005 | 11.983 | true | false | It's nothing new, it might be plagiary not theoretical novelty | Verse 1 | combined | 33.022 | 45.022 | true | End aligned to Chorus 1 boundary at 45.005s | false | null | 9 | 62 | 10 | 0 | -0.017 | audio_only | 08_02_12 | 85 | 4 | 4 | G | minor | Violet | Present | Person | Known | null | Read Rile…y | 2025-09-08T00:00:00 | [03:06.008] | true | true | I get the feeling that you've heard what I'm singing, heard it all before So you know if it was up to me, you'd be right here to keep me honest It's nothing new, it might be plagiary not theoretical novelty The well's run out and all the water's muddied Beyond a doubt, beyond the pale You're the only one who counts when I repeat myself I get the feeling that you know what I'm saying, heard it all before As you know if it was up to me, I'd be right there, open to critique It's just a few, loyal listeners left, they're tuning into past frequencies They're taking it in house your pitch was the same last year Beyond a doubt, beyond the sale You're the only one who can count when I repeat myself Running low on clout, my lenders are collecting Beyond a doubt, beyond the tail You're the only one who can count, when I repeat myself | James Blake, discogs_id: 1500084, Harry Styles, discogs_id: 2508414, Lauv, discogs_id: 5047975 | sad, ironic, sadistic | Pop, Rock | 08_02.lrc | A very inside allusion to Fat Albert and The Clash - this song is a focus on one's limitations. The narrator realizes he's done this song before and it sends him into a depressive spiral. | {
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} | Bridge as Intro : The keyboards, bass, and piano play the bridge before the drums and guitar kick in, [00:00.000]-[00:22.014] | Verse 1 : The vocals are an affected male baritone, but not Gabe - it's a commercial version of him and bordering on parody., [00:22.015]-[00:45.004] | Chorus 1 : The chorus is an easy transition from the verse to the bridge with a sad and ironic lyric which focuses on the failings of Gabe's creative output., [00:45.005]-[01:07.019] | Bridge 2 : The bridge returns with a slightly different arrangement., [01:07.020]-[01:30.008] | Verse 2 : The second verse continues the ironic take on Gabe's creative struggles., [01:30.009]-[01:52.023] | Chorus 2 : Back to the chorus., [01:52.024]-[02:14.011] | Bridge 3 : A repeat of the bridge with a slightly different arrangement., [02:14.012]-[02:38.002] | Chorus 3 : The final chorus is a bit more resigned and more emotional., [02:38.003]-[03:06.008] | null |
08_02_seg_0004_track_02 | 3 | 08_02 | 2 | Piano | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/08_02/08_02_03_piano.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/08_02/08_02_seg_0004_track_02.wav | /Volumes/LucidNonsense/White/staged_raw_material/08_02/08_02_02_piano.mid | 45.005 | 55.001 | 9.996 | true | true | The well's run out and all the water's muddied | Chorus 1 | combined | 45.022 | 55.001 | true | Start aligned to Chorus 1 boundary at 45.005s | false | null | 11 | 46 | 9 | -0.017 | 0 | audio_midi | 08_02_2 | 85 | 4 | 4 | G | minor | Violet | Present | Person | Known | null | Read Rile…y | 2025-09-08T00:00:00 | [03:06.008] | true | true | I get the feeling that you've heard what I'm singing, heard it all before So you know if it was up to me, you'd be right here to keep me honest It's nothing new, it might be plagiary not theoretical novelty The well's run out and all the water's muddied Beyond a doubt, beyond the pale You're the only one who counts when I repeat myself I get the feeling that you know what I'm saying, heard it all before As you know if it was up to me, I'd be right there, open to critique It's just a few, loyal listeners left, they're tuning into past frequencies They're taking it in house your pitch was the same last year Beyond a doubt, beyond the sale You're the only one who can count when I repeat myself Running low on clout, my lenders are collecting Beyond a doubt, beyond the tail You're the only one who can count, when I repeat myself | James Blake, discogs_id: 1500084, Harry Styles, discogs_id: 2508414, Lauv, discogs_id: 5047975 | sad, ironic, sadistic | Pop, Rock | 08_02.lrc | A very inside allusion to Fat Albert and The Clash - this song is a focus on one's limitations. The narrator realizes he's done this song before and it sends him into a depressive spiral. | {
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} | Bridge as Intro : The keyboards, bass, and piano play the bridge before the drums and guitar kick in, [00:00.000]-[00:22.014] | Verse 1 : The vocals are an affected male baritone, but not Gabe - it's a commercial version of him and bordering on parody., [00:22.015]-[00:45.004] | Chorus 1 : The chorus is an easy transition from the verse to the bridge with a sad and ironic lyric which focuses on the failings of Gabe's creative output., [00:45.005]-[01:07.019] | Bridge 2 : The bridge returns with a slightly different arrangement., [01:07.020]-[01:30.008] | Verse 2 : The second verse continues the ironic take on Gabe's creative struggles., [01:30.009]-[01:52.023] | Chorus 2 : Back to the chorus., [01:52.024]-[02:14.011] | Bridge 3 : A repeat of the bridge with a slightly different arrangement., [02:14.012]-[02:38.002] | Chorus 3 : The final chorus is a bit more resigned and more emotional., [02:38.003]-[03:06.008] | null |
08_02_seg_0004_track_03 | 3 | 08_02 | 3 | Main Synth | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/08_02/08_02_05_main_synth.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/08_02/08_02_seg_0004_track_03.wav | /Volumes/LucidNonsense/White/staged_raw_material/08_02/08_02_04_main_synth.mid | 45.005 | 55.001 | 9.996 | true | true | The well's run out and all the water's muddied | Chorus 1 | combined | 45.022 | 55.001 | true | Start aligned to Chorus 1 boundary at 45.005s | false | null | 11 | 46 | 9 | -0.017 | 0 | audio_midi | 08_02_3 | 85 | 4 | 4 | G | minor | Violet | Present | Person | Known | null | Read Rile…y | 2025-09-08T00:00:00 | [03:06.008] | true | true | I get the feeling that you've heard what I'm singing, heard it all before So you know if it was up to me, you'd be right here to keep me honest It's nothing new, it might be plagiary not theoretical novelty The well's run out and all the water's muddied Beyond a doubt, beyond the pale You're the only one who counts when I repeat myself I get the feeling that you know what I'm saying, heard it all before As you know if it was up to me, I'd be right there, open to critique It's just a few, loyal listeners left, they're tuning into past frequencies They're taking it in house your pitch was the same last year Beyond a doubt, beyond the sale You're the only one who can count when I repeat myself Running low on clout, my lenders are collecting Beyond a doubt, beyond the tail You're the only one who can count, when I repeat myself | James Blake, discogs_id: 1500084, Harry Styles, discogs_id: 2508414, Lauv, discogs_id: 5047975 | sad, ironic, sadistic | Pop, Rock | 08_02.lrc | A very inside allusion to Fat Albert and The Clash - this song is a focus on one's limitations. The narrator realizes he's done this song before and it sends him into a depressive spiral. | {
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} | Bridge as Intro : The keyboards, bass, and piano play the bridge before the drums and guitar kick in, [00:00.000]-[00:22.014] | Verse 1 : The vocals are an affected male baritone, but not Gabe - it's a commercial version of him and bordering on parody., [00:22.015]-[00:45.004] | Chorus 1 : The chorus is an easy transition from the verse to the bridge with a sad and ironic lyric which focuses on the failings of Gabe's creative output., [00:45.005]-[01:07.019] | Bridge 2 : The bridge returns with a slightly different arrangement., [01:07.020]-[01:30.008] | Verse 2 : The second verse continues the ironic take on Gabe's creative struggles., [01:30.009]-[01:52.023] | Chorus 2 : Back to the chorus., [01:52.024]-[02:14.011] | Bridge 3 : A repeat of the bridge with a slightly different arrangement., [02:14.012]-[02:38.002] | Chorus 3 : The final chorus is a bit more resigned and more emotional., [02:38.003]-[03:06.008] | null |
08_02_seg_0004_track_04 | 3 | 08_02 | 4 | Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/08_02/08_02_06_guitar.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/08_02/08_02_seg_0004_track_04.wav | null | 45.005 | 55.001 | 9.996 | true | false | The well's run out and all the water's muddied | Chorus 1 | combined | 45.022 | 55.001 | true | Start aligned to Chorus 1 boundary at 45.005s | false | null | 11 | 46 | 9 | -0.017 | 0 | audio_only | 08_02_4 | 85 | 4 | 4 | G | minor | Violet | Present | Person | Known | null | Read Rile…y | 2025-09-08T00:00:00 | [03:06.008] | true | true | I get the feeling that you've heard what I'm singing, heard it all before So you know if it was up to me, you'd be right here to keep me honest It's nothing new, it might be plagiary not theoretical novelty The well's run out and all the water's muddied Beyond a doubt, beyond the pale You're the only one who counts when I repeat myself I get the feeling that you know what I'm saying, heard it all before As you know if it was up to me, I'd be right there, open to critique It's just a few, loyal listeners left, they're tuning into past frequencies They're taking it in house your pitch was the same last year Beyond a doubt, beyond the sale You're the only one who can count when I repeat myself Running low on clout, my lenders are collecting Beyond a doubt, beyond the tail You're the only one who can count, when I repeat myself | James Blake, discogs_id: 1500084, Harry Styles, discogs_id: 2508414, Lauv, discogs_id: 5047975 | sad, ironic, sadistic | Pop, Rock | 08_02.lrc | A very inside allusion to Fat Albert and The Clash - this song is a focus on one's limitations. The narrator realizes he's done this song before and it sends him into a depressive spiral. | {
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} | Bridge as Intro : The keyboards, bass, and piano play the bridge before the drums and guitar kick in, [00:00.000]-[00:22.014] | Verse 1 : The vocals are an affected male baritone, but not Gabe - it's a commercial version of him and bordering on parody., [00:22.015]-[00:45.004] | Chorus 1 : The chorus is an easy transition from the verse to the bridge with a sad and ironic lyric which focuses on the failings of Gabe's creative output., [00:45.005]-[01:07.019] | Bridge 2 : The bridge returns with a slightly different arrangement., [01:07.020]-[01:30.008] | Verse 2 : The second verse continues the ironic take on Gabe's creative struggles., [01:30.009]-[01:52.023] | Chorus 2 : Back to the chorus., [01:52.024]-[02:14.011] | Bridge 3 : A repeat of the bridge with a slightly different arrangement., [02:14.012]-[02:38.002] | Chorus 3 : The final chorus is a bit more resigned and more emotional., [02:38.003]-[03:06.008] | null |
08_02_seg_0004_track_05 | 3 | 08_02 | 5 | Bass | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/08_02/08_02_07_bass.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/08_02/08_02_seg_0004_track_05.wav | null | 45.005 | 55.001 | 9.996 | true | false | The well's run out and all the water's muddied | Chorus 1 | combined | 45.022 | 55.001 | true | Start aligned to Chorus 1 boundary at 45.005s | false | null | 11 | 46 | 9 | -0.017 | 0 | audio_only | 08_02_5 | 85 | 4 | 4 | G | minor | Violet | Present | Person | Known | null | Read Rile…y | 2025-09-08T00:00:00 | [03:06.008] | true | true | I get the feeling that you've heard what I'm singing, heard it all before So you know if it was up to me, you'd be right here to keep me honest It's nothing new, it might be plagiary not theoretical novelty The well's run out and all the water's muddied Beyond a doubt, beyond the pale You're the only one who counts when I repeat myself I get the feeling that you know what I'm saying, heard it all before As you know if it was up to me, I'd be right there, open to critique It's just a few, loyal listeners left, they're tuning into past frequencies They're taking it in house your pitch was the same last year Beyond a doubt, beyond the sale You're the only one who can count when I repeat myself Running low on clout, my lenders are collecting Beyond a doubt, beyond the tail You're the only one who can count, when I repeat myself | James Blake, discogs_id: 1500084, Harry Styles, discogs_id: 2508414, Lauv, discogs_id: 5047975 | sad, ironic, sadistic | Pop, Rock | 08_02.lrc | A very inside allusion to Fat Albert and The Clash - this song is a focus on one's limitations. The narrator realizes he's done this song before and it sends him into a depressive spiral. | {
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} | Bridge as Intro : The keyboards, bass, and piano play the bridge before the drums and guitar kick in, [00:00.000]-[00:22.014] | Verse 1 : The vocals are an affected male baritone, but not Gabe - it's a commercial version of him and bordering on parody., [00:22.015]-[00:45.004] | Chorus 1 : The chorus is an easy transition from the verse to the bridge with a sad and ironic lyric which focuses on the failings of Gabe's creative output., [00:45.005]-[01:07.019] | Bridge 2 : The bridge returns with a slightly different arrangement., [01:07.020]-[01:30.008] | Verse 2 : The second verse continues the ironic take on Gabe's creative struggles., [01:30.009]-[01:52.023] | Chorus 2 : Back to the chorus., [01:52.024]-[02:14.011] | Bridge 3 : A repeat of the bridge with a slightly different arrangement., [02:14.012]-[02:38.002] | Chorus 3 : The final chorus is a bit more resigned and more emotional., [02:38.003]-[03:06.008] | null |
08_02_seg_0004_track_06 | 3 | 08_02 | 6 | Drums | Drums | RainbowPlayer.GRAHAM | /Volumes/LucidNonsense/White/staged_raw_material/08_02/08_02_08_drums.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/08_02/08_02_seg_0004_track_06.wav | null | 45.005 | 55.001 | 9.996 | true | false | The well's run out and all the water's muddied | Chorus 1 | combined | 45.022 | 55.001 | true | Start aligned to Chorus 1 boundary at 45.005s | false | null | 11 | 46 | 9 | -0.017 | 0 | audio_only | 08_02_6 | 85 | 4 | 4 | G | minor | Violet | Present | Person | Known | null | Read Rile…y | 2025-09-08T00:00:00 | [03:06.008] | true | true | I get the feeling that you've heard what I'm singing, heard it all before So you know if it was up to me, you'd be right here to keep me honest It's nothing new, it might be plagiary not theoretical novelty The well's run out and all the water's muddied Beyond a doubt, beyond the pale You're the only one who counts when I repeat myself I get the feeling that you know what I'm saying, heard it all before As you know if it was up to me, I'd be right there, open to critique It's just a few, loyal listeners left, they're tuning into past frequencies They're taking it in house your pitch was the same last year Beyond a doubt, beyond the sale You're the only one who can count when I repeat myself Running low on clout, my lenders are collecting Beyond a doubt, beyond the tail You're the only one who can count, when I repeat myself | James Blake, discogs_id: 1500084, Harry Styles, discogs_id: 2508414, Lauv, discogs_id: 5047975 | sad, ironic, sadistic | Pop, Rock | 08_02.lrc | A very inside allusion to Fat Albert and The Clash - this song is a focus on one's limitations. The narrator realizes he's done this song before and it sends him into a depressive spiral. | {
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} | Bridge as Intro : The keyboards, bass, and piano play the bridge before the drums and guitar kick in, [00:00.000]-[00:22.014] | Verse 1 : The vocals are an affected male baritone, but not Gabe - it's a commercial version of him and bordering on parody., [00:22.015]-[00:45.004] | Chorus 1 : The chorus is an easy transition from the verse to the bridge with a sad and ironic lyric which focuses on the failings of Gabe's creative output., [00:45.005]-[01:07.019] | Bridge 2 : The bridge returns with a slightly different arrangement., [01:07.020]-[01:30.008] | Verse 2 : The second verse continues the ironic take on Gabe's creative struggles., [01:30.009]-[01:52.023] | Chorus 2 : Back to the chorus., [01:52.024]-[02:14.011] | Bridge 3 : A repeat of the bridge with a slightly different arrangement., [02:14.012]-[02:38.002] | Chorus 3 : The final chorus is a bit more resigned and more emotional., [02:38.003]-[03:06.008] | null |
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} | Bridge as Intro : The keyboards, bass, and piano play the bridge before the drums and guitar kick in, [00:00.000]-[00:22.014] | Verse 1 : The vocals are an affected male baritone, but not Gabe - it's a commercial version of him and bordering on parody., [00:22.015]-[00:45.004] | Chorus 1 : The chorus is an easy transition from the verse to the bridge with a sad and ironic lyric which focuses on the failings of Gabe's creative output., [00:45.005]-[01:07.019] | Bridge 2 : The bridge returns with a slightly different arrangement., [01:07.020]-[01:30.008] | Verse 2 : The second verse continues the ironic take on Gabe's creative struggles., [01:30.009]-[01:52.023] | Chorus 2 : Back to the chorus., [01:52.024]-[02:14.011] | Bridge 3 : A repeat of the bridge with a slightly different arrangement., [02:14.012]-[02:38.002] | Chorus 3 : The final chorus is a bit more resigned and more emotional., [02:38.003]-[03:06.008] | null |
08_02_seg_0004_track_08 | 3 | 08_02 | 8 | Snare | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/08_02/08_02_11_snare.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/08_02/08_02_seg_0004_track_08.wav | null | 45.005 | 55.001 | 9.996 | true | false | The well's run out and all the water's muddied | Chorus 1 | combined | 45.022 | 55.001 | true | Start aligned to Chorus 1 boundary at 45.005s | false | null | 11 | 46 | 9 | -0.017 | 0 | audio_only | 08_02_8 | 85 | 4 | 4 | G | minor | Violet | Present | Person | Known | null | Read Rile…y | 2025-09-08T00:00:00 | [03:06.008] | true | true | I get the feeling that you've heard what I'm singing, heard it all before So you know if it was up to me, you'd be right here to keep me honest It's nothing new, it might be plagiary not theoretical novelty The well's run out and all the water's muddied Beyond a doubt, beyond the pale You're the only one who counts when I repeat myself I get the feeling that you know what I'm saying, heard it all before As you know if it was up to me, I'd be right there, open to critique It's just a few, loyal listeners left, they're tuning into past frequencies They're taking it in house your pitch was the same last year Beyond a doubt, beyond the sale You're the only one who can count when I repeat myself Running low on clout, my lenders are collecting Beyond a doubt, beyond the tail You're the only one who can count, when I repeat myself | James Blake, discogs_id: 1500084, Harry Styles, discogs_id: 2508414, Lauv, discogs_id: 5047975 | sad, ironic, sadistic | Pop, Rock | 08_02.lrc | A very inside allusion to Fat Albert and The Clash - this song is a focus on one's limitations. The narrator realizes he's done this song before and it sends him into a depressive spiral. | {
"album_sequence": 8,
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} | Bridge as Intro : The keyboards, bass, and piano play the bridge before the drums and guitar kick in, [00:00.000]-[00:22.014] | Verse 1 : The vocals are an affected male baritone, but not Gabe - it's a commercial version of him and bordering on parody., [00:22.015]-[00:45.004] | Chorus 1 : The chorus is an easy transition from the verse to the bridge with a sad and ironic lyric which focuses on the failings of Gabe's creative output., [00:45.005]-[01:07.019] | Bridge 2 : The bridge returns with a slightly different arrangement., [01:07.020]-[01:30.008] | Verse 2 : The second verse continues the ironic take on Gabe's creative struggles., [01:30.009]-[01:52.023] | Chorus 2 : Back to the chorus., [01:52.024]-[02:14.011] | Bridge 3 : A repeat of the bridge with a slightly different arrangement., [02:14.012]-[02:38.002] | Chorus 3 : The final chorus is a bit more resigned and more emotional., [02:38.003]-[03:06.008] | null |
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