 | Walkabout |
| | Ramatheson, un utente del comatorio, si è messo ad analizzare riga per riga i pezzi dell'ultimo album. Anzi, ora che leggo un po', mi sono accorto che questo utente non fa altro che da tramite per le interpretazioni di una "fonte anonima", che dice di non poter rivelare in quanto ciò creerebbe un discreto casino nell'ambiente comatoriano. Magari è solo una trovata per dare credito alle sue parole, ma chissà. In ogni caso, copio/incollo, ovviamente queste interpretazioni sono da prendere con le superpinze che tutti avete in tasca quando si parla dei testi di Cedric, ma qualche spunto interessante c'è. Forse il problema di questa interpretazione (e delle altre della serie di Tamharreson) è il fatto di voler restare un po' troppo attaccati a quello che Omar e Cedric hanno rivelato sul concept, forzando i significati per trovare la quadratura del cerchio. A voi. CITAZIONE Cavalettas: This piece is all from the mother, minus a short part that isn’t actually sung in the song. By this point, the mother’s spirit is highly fractured and schizophrenic after her last discussion. The re-examining and remembering she did during “Wax Simulacra.” There is a ton of metaphor and other figurative language, and is probably the song that is furthest from a direct, substantive meaning. Some things may seem to be a “stretch,” but that is the nature of this song. Another way this is represented is in the vast changes in the song and the fading in and out, often with abrupt movements within the music.
On another quick note, a Cavaletta is a woman who tries to make her partner into something else. Both the mother and daughter fall into this category; they both wish Goliath (their partner) would change and be something/someone different.
A salty ring of night fatigue
The mark left on her marriage-bed. The salt-ring is created by the bodies of Goliath and his daughter sweating in the mother and father’s (Goliath) bed. This figurative “salty ring” was created when Goliath and his daughter met in the bed and became “fatigued” through their intercourse.
When I get the sweats
And yet, the mother creates her own salty-ring as well from her own sweating. She is feverish with the problems and thoughts of what is going on in her family. It is something that keeps her up at night.
From your listening
The sweats she gets are from the worry over what her daughter has participated in after the daughter listened to her father’s words and sounds during the acts.
Primordial cymatics
These sounds, made during the act of intercourse, are “primordial” and animal-like. “Cymantics” are the study of sounds that make a physical effect. When you play an instrument, it can be felt in a physical way. Look up the word to read more about it here beyond the scope of this interpretation. Suffice to say that it is a sound that affects things in a physical sense. Goliath’s “primordial” sounds during the act, which represent the act itself here, have had a huge effect on the world.
Giving birth into reverse
This is a metaphorical reference to the sex act. The mother here refers to something going into the girl instead of coming out. It is the actual insertion during sex that is being referenced here.
Serated mare ephemera
The daughter here is a “mare,” as in a female horse. It is an image of her as a beautiful and strong female, but she is cut down (“serrated”) and made to lose her strength and in a way, blow away in the wind like something that is ephemeral, or ghost/mist-like.
Undo her mother’s curse
So if you
Break me a mirror
Hang the broken pieces
Of a place that isn’t here
Addressed to the band. This is a very metaphorical line. She is basically telling them that the things that happened are being reflected again into the spirits’ memories. This is happening by the band bringing it all up again through using the board. Her advice, which is followed later, is to escape this entire thing by breaking this mirror (the board) and taking it some place where it will never be found (a place that isn’t there). This, as we have been told, is exactly what Omar did.
There is also a tie between the mirror reference with the next track, "Agadez" that we will see later.
Don’t hide that guilty smile
Condolences
Won’t go away
A change in the music and singing with this part to indicate the change in who the mother is talking to. She is now talking to Goliath again. She is telling him not to “hide” his sin (guilty smile), because no matter what he does to fix things, she will always face people who talk to her about her dead daughter (condolences).
The coins you bring
Left footprints
She is talking to the band again. The “coins” here is just a metaphor for them asking questions of her, like someone paying a fortune teller. These questions of theirs have left marks (footprints) on her psyche by bringing up these terrible memories. Of course, we must remember that she doesn’t really exist, but that her spirit is just a fragmented memory coming to life out of Goliath’s spirit. Through all of this, it is really just one spirit the band is contacting, even though it seems like there are many.
Blind thirst
And Braille liquor
These are just more images that go along with the footprints. She is blind, thirsty, and drunk from all the questions.
My bed is stained
With fractures
The mother’s bed is “stained” and broken (fractures) from what Goliath did.
Year after vitiated year
The bed was broken for years. “Vitiated” means corrupted.
Four corners you are touching
The band, sitting on each side of the Ouija board, touches the sides and corners of the board.
They will liberate
My need
The board (four corners) will free the mother in a sense. She has a “need” to see Goliath punished, and when the band wakes him again, he is awoken to the eternity of suffering he must deal with. He had been resting before this, but now has to face what he did once again.
Bite marks
In the menagerie
With infidelic teeth
Imagery. Goliath and his daughter’s sex is pictured here…bite marks on skin, like a multitude of animal marks (menagerie), with teeth that were breaking marriage vows (infidelic).
Is there something out there
Waiting to take hold
There is a big change in the song from here on out. It represents the destructive, vengeful, angry side of the mother-spirit. She is wondering here if there is something or someone that will ever grab a hold of Goliath and punish him.
When that whore won’t answer
Who is in control?
The “whore” here is the daughter. The mother refers to her as such because she is being spiteful and destructive. She knows who is in control of her daughter…Goliath. She knows that when her daughter doesn’t answer her calls, she is most likely under the control of her father, Goliath. In addition, the mother is talking to the band here, saying that Goliath is often in control of their whole experience with the board. When they can’t reach the daughter, they will most likely get Goliath. It is a rhetorical question of sorts.
And the names you planted
Drop the seed into a hole
The band calls out for different names. By doing this, they planted a seed for something to grow from. That thing that grew, or, answered their call, was Goliath.
If you force me often
I might jump off the board
This is a warning not to push her too far, or she will come off the board and possess the band.
I am a deaf con of angora goats
Warning you all who pass this mote
Another warning, in imagery. She will not listen (deaf) and is not real (con). She exists only as a portion of Goliath’s memory. The story takes place in a city in the Middle East, and here we see the city, specifically. The city is "Angora," and the "goats" represent sin and the devil. To sum up, she is not listening to Goliath's excuses, is not real, and is involved with terrible sins that took place in "Angora" in the Middle East. She would send this warning to anyone who hears her portion of the story, which is just a small part of everything that happened (a “mote”).
It’s only a matter of folding time and space
Before I become your epidemic
The music changes here, and the mother-spirit is continuing a warning. This time, it is grave and directed right at the band. Here, she sort of states how easy it would be for her to reach through “time and space” to cause them problems.
Is this the first time at my conventicler
This line is sort of like her saying, “What…are you new at this?” A “conventicler” is a place of secret meeting. It is just a reference to the board in this case.
You better not talk
If you came here for semantics
If they only came to argue small, moot points (semantics), then the band had just better not ask anything at all. She is not in the mood for messing around.
It’s only a matter of folding in time and space
Before I become your epidemic
See above.
Don’t ignore my presence
The band had better not ignore her existence within Goliath. She has things to offer them that may prove important later.
Hidden reads the scrolls
The knowledge she has (scroll) is hidden within Goliath, but it can be known (read) if they pay attention.
By the time I asked her
The earth fell off the tongue
The mother is telling the band that by the time she realized what was going on between Goliath and her daughter, it was too late. The whole thing was well-known by man. In a sense, the mother was one of the last to truly know the extent of everything. The whole “earth” was in-the-know, so to speak.
What once was laughter
Corrosive I became
The mother once was happy, but became viscous and “corrosive.” She wants the band to know that she wasn’t always this way.
Where a scarlet bruise grows
Sprout the fault we own
When the bloody (scarlet) marks Goliath and his daughter made grew, all the problems (faults) grew (sprout) as well. The family had to “own” these sins…there was no way to get away from them.
I am a deaf con of angora goats
Warning you all who pass this mote
It’s only a matter of folding in time and space
Before I become your epidemic
Is this the first time at my conventicle
You better not talk
If you came here for semantics
It’s only a matter of folding in time and space
Before I become your epidemic
See above.
Don’t hide your guilty freight
Condolences won’t go away
Similar to the lines above that are similar. The difference is that the “smile” is now referred to as a heavy weight, or “freight.”
You’ve got that guilty smile
That culminates in bedlam
Goliath’s “guilty smile” has resulted (culminates) in absolute chaos (bedlam) and the destruction of everything.
Is the safety that you feel
From the witness
Who was kept quiet
In the wings
These lines are hidden, as is the person saying them. They are not the mother speaking. This person is one of the daughter’s children lost to forced abortion. The child’s spirit addresses Goliath here, asking if he feels any safer, knowing that the child (the quiet witness) was made silent (by killing it). | | | |
| |
|
