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Offline Mckenzie-  
#21 Posted : 19 July 2013 08:35:24(UTC)
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Ryan: It was an absolute pleasure to work with Nichole and Castor. Seriously, Nichole is one of the most talented singers around, was a great learning experience for me recording with you guys. It was clear the album would be amazing, even though I got just a glimpse into the sound. So Pretty; So Lonely is definitely up there with the best music you guys have ever released. First album was great, this may just eclipse it.
retired x
Offline snap_itshannah  
#22 Posted : 19 July 2013 08:39:56(UTC)
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Quote:
OOC: these lyrics....they give me feels. fantastic job, as always :)


OOC: Aw, thank you so much. :)


Quote:
Ryan: It was an absolute pleasure to work with Nichole and Castor. Seriously, Nichole is one of the most talented singers around, was a great learning experience for me recording with you guys. It was clear the album would be amazing, even though I got just a glimpse into the sound. So Pretty; So Lonely is definitely up there with the best music you guys have ever released. First album was great, this may just eclipse it.


Nichole: Thank you so much, Ryan, and thank you for working with us. I don't say this about a lot of artists, but it was an absolute pleasure and honor to work with you.
Offline snap_itshannah  
#23 Posted : 20 July 2013 09:07:54(UTC)
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TITLE: My Future Twentieth High School Reunion
BY: Vile Hour (N. Fischer and C. Drake)
WRITTEN BY: N. Fischer
GENRE: Anti-folk, indie folk, baroque pop, jazz, indie pop
LABEL: Chaos Records


"I started writing this song because I heard the word 'eisteddfod' and I wanted to write a song with that in it," Nichole said about this song, titled My Future Twentieth High School Reunion.

"No matter how famous I get, I fully expect to show up at my twenieth high school reunion being the least sucessful person there," Nichole said once when questioned about it. "I mean, of course I'll go, but I know that probably only half of the people there will know about my music career, and only half of that half of people will have actually listened to me... And then maybe one or two people out of that group will have enjoyed my music." Both Nichole Fischer (at the time Nichole Shade) and Castor Drake attended Osborn Collegiate Academy of Mathematics, Science and Technology - a high school targeted for young men and women who have large academic aspirations in life. "I never really got a real high school experience. At Osborn, you were cool if you made straight A's and were president of the chess team. People like me? We were the freaks," She said later. "Both my parents were scientists. Both of their fathers were scientists. And me? I'm the piano player. It's a weird world to live in."

This Vile Hour song is Nichole Fischer's prediction of what she will witness when she gets to her twentieth high school reunion. The scene she paints in her music of people who are barely getting by, but trying to seem like they're doing better than what they really are is exaclty what America is made of. She talks first about her former classmate who became a model, which may seem like a completely glamorous job, but is not all it's cracked up to be. The former classmate is now "living on disorders, cigarettes, and lettuce" and living in an apartment with her friend, Cindy. Not so glamorous. The former school captain, she predicts, will not even show up to the reunion, but there will be, of course, people gossiping about him. The former school captain will be seen in food lines, asking for charity, and still be in love with a woman who broke up with his seven years beforehand. And, of course, everybody will be having spoiled children that everybody else will hate, but would never tell the parents that. Nichole finishes the scene with her making out with somebody else's boyfriend, claiming that she's "learned fuck all since high school," and that "... we can never have it all / But sure, I'm sure, I'm sure, I'm sure / We're all pretending." The point of this song? To show that, even outside of high school, people are still trying to figure out who they are and what they're doing with their lives.

The song has a very happy tempo to it as Nichole's voice jumps around with a childlike happiness, like she's taking joy in seeing how horrible everybody's lives have turned out. You can tell from Nichole's voice that she is taking some sort of sick joy in seeing how phony everybody's happiness is, making her feel like she's not the only one that has to pretend like she's just fine when she's (emotionally wise) barely getting by. The song both gives hope for the future, but also lets the listener know that if they don't feel like they're where they should be in this point in their life, everybody else feels that way, too, and not to worry about it.



Well, you know
You can never have it all
No, you can never have it all
But who wants that kind of weight now?

And I hear
She's a model now, my friend
She's a model now, my friend
Living on disorders, cigarettes, and lettuce
In the apartment she shares
With Cindy, her friend
With Cindy, her friend
And all the songs she knows now are catcalls

And you know she can never have it all
No, she can never have it all
She's so far away
From that eisteddfod

And Joe says he saw the captain in the dole line
School captain in the dole line
And he swears he's a broken man
Still missing his ex-girlfriend
Still loving his ex-girlfriend
It's been seven years
But he thinks there's still a chance

And you know he can never have it all
No, he can never have it all
He's so far away
From that regatta

And she listens
To the weather now, my friend
To the weather now, my friend
Got to worry about the children's sweaters
In the playground with their friends
And the children of her friends
Who she thinks are spoilt brats
But who's telling Sarah?

And she knows they can never have it all
No, they can never have it all
They're so far away
From the breadline

Now I'm kissing Tom's new lover at the bar
Yes, my new lover at the bar
Guess I've learned fuck all since high school
Oh, yes, I've learned fuck all since high school

And you know we can never have it all
No, we can never have it all
But sure, I'm sure, I'm sure, I'm sure
We're all pretending


SOUNDS LIKE:
Regina Spektor - Sailor Song

Edited by user 23 July 2013 00:50:37(UTC)  | Reason: Not specified

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Offline Famouss7x7  
#24 Posted : 20 July 2013 15:41:41(UTC)
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James Urie: Excellent work of art here. It's quite amazing how you Nichole, like me, can deal with experiences in our life and feel open to talk about them in music. I think both of you are extremely talented and seem like mainstays for a really long time. Great album here, congrats on all of your success.

OOC: Really good job! I still remember when you first came! You really got into the mix of things quickly and easily showed you're a great RP'er and song songwriter today :)
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Brittany KnoxDennis Shaw • Gemma • Payton • Cassie Valentine • JT RodriguezJay-CNick UriePRÓXIMO

Offline snap_itshannah  
#25 Posted : 21 July 2013 00:38:29(UTC)
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Quote:
James Urie: Excellent work of art here. It's quite amazing how you Nichole, like me, can deal with experiences in our life and feel open to talk about them in music. I think both of you are extremely talented and seem like mainstays for a really long time. Great album here, congrats on all of your success.

OOC: Really good job! I still remember when you first came! You really got into the mix of things quickly and easily showed you're a great RP'er and song songwriter today :)


Nichole: Thank you so much, James. With every bad or unpleasant experience, my first thought is always "How much sympathy could I get out of this?" And then my second thought is, "How would a song about this go?" ;)

OOC: Ah! Thank you sooooo much, Jaime! :) you've always been so sweet.
Offline snap_itshannah  
#26 Posted : 22 July 2013 00:04:11(UTC)
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TITLE: Like Snakes
ARTIST: Vile Hour (N. Fischer & C. Drake)
WRITTEN BY: N. Fischer
GENRE: Alternative rock, punk cabaret, dark cabaret
LABEL: Chaos Records


Like Snakes

After their debut album, Common Technicalities, which was a smashing success and said by vocalist Nichole Fischer to me "better than the best sex you've ever had," Vile Hour is coming back with the second single released for their next album to follow up Common Technicalities. Like Snakes continues on the same punk cabaret, dark rock feeling that Vile Hour has become known for over time. Nichole Fischer and drummer, Castor Drake, say that they see no reason to change their sound. "The moment our music starts getting classified as "pop" or "dance" or anything fucking normal like that, we'll change the sound," Castor Drake stated. "But for now, we're about the only punk cabaret band out there, and we're claiming our turf." Since their first album, both Fischer and Drake have gone through many changes. Drake first getting married to Nina Sangria, after it was publicly revealed that he had had a daughter he was keeping secret from his fans and the press. Both his daughter and the marriage were taken with open arms from the public, and the Drake family has continued on with their lives, both parents continuing to make music, and have a (very) short lived TV show around their B-list lives. Nichole Fischer, at the time of the debut album Nichole Shade, had a much more chaotic life following the release of their debut album. After a very popular stint on Celebrity Big Brother, where she was openly intimate with many members of the cast, mostly Erica Hess of The Harlots, she went on to date and later marry Sam Fischer of Acts of Hate. Before that happy ending, many well-documented acts of drama and selfishness happened, including Nichole supposedly making Erica Hess cheat on her then girlfriend, Natalya Dobros, former Lashes member, just to prove that she could, and then scheduling her wedding on the same day of Erica and Natalya's to make everybody choose which wedding to go to. Throughout all of this immaturity, Nichole Fischer and Erica Hess have remained constant friends, and even Natalya Hess and Nichole Fischer have started on friendly terms with one another.

Nichole Fischer has stated that the song Like Snakes was written shortly after Erica Hess was voted off of Celebrity Big Brother. As many people who watched the show remember, Nichole and Erica's relationship when Erica was voted off was very much up-in-the-air, as both girls had shown a lot of intimacy and passion towards each other, but when Erica asked Nichole to be her girlfriend, Nichole refused. Nichole later explained that she had refused her because of Erica Hess' then marriage to the notorious Erich Hess, who is now married to the singer, Ada von Wannemaker.

Quote:
"Erica leaving was actually pretty hard for me to deal with. I mean, I stuck it out, but after she left, I immediately had this thought that I loved her... That sounds crazy, but the moment the door shut behind her, my first thought was, "Oh my god, I'm in love with her." Heh, I do love her, but I love her in the way that you love your sister. Completely unconditional, but in a different way than you love your husband or your... girlfriend. I sat in the bed that Erica and I had slept in all those nights and wrote this song the night that Erica left. I found it a few months later. It's short and sweet, but it captures my emotions of that night perfectly, and I need to share it. That sudden feeling of love... That can't just be something that I've felt. So many people mistaken that feeling of loneliness for love, and I'm sure that's exactly what had happened that night. That's what the song means to me, but that doesn't have to be what the song means to the listener. In fact, I hope it's not. I hope they find their own meaning... And I hope they share it with me.


The song mostly uses a soft, quiet, but very quickly paced piano throughout it. Nichole's emotions explode through her words as she sings in a voice just as soft as the piano, almost in a whisper. Throughout the song, her voice often breaks and sounds scratchy, as if she were very tired or just woken up. Nichole did this on purpose to give the song the same feeling that she had when she was writing the song very late at night. Her voice starts growing a sort of confidence as she continues into the 2nd verse, Castor Drake coming in with the drums to keep a calm, steady beat. As Nichole's voice gets stronger and stronger, so does the piano, until, by the end of the song at "But you can't find your way out of me," she's practically screaming the lyrics in the Vile Hour way that we've all come to know and love. There's a short instrumental break as the piano and drums have a sort of orgy of beautiful sound, before coming back down again in the same quiet, soft melody they were playing in the before time. Nichole whispers the very last line of the song, and the piano plays a final note before fading out.


Your tomorrow is raining all over my today
And it's hard to hear that it's over, you say
But it's love
It's love

And the moonlit cracks on our window
Leave spins of light in the dust
You gather your things in the fluoro-lit night
And I think I'll be alirght

You could tell me anything
And I'd believe it
You're so sure of your own heart
Your heart
But it's love
It's love

I shed people like snakes shed skin
I'm not proud of it, I'm not proud
But you can't find your way out of me

I shed people like snakes shed skin


SOUNDS LIKE & THE CULTURE UNCUT ARTICLE ON THE SONG:
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Offline snap_itshannah  
#27 Posted : 23 July 2013 00:50:06(UTC)
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TITLE: Plan B
BY: Vile Hour (N. Fischer and C. Drake)
WRITTEN BY: N. Fischer
GENRE: Piano rock, alternative rock, art pop, electronica, classical, baroque pop
LABEL: Chaos Records


Plan B is one of the shortest songs on the album, but it's a little peak into Nichole's mind as the song practically screams, "THIS IS WHY YOU LOVE VILE HOUR." The song is a real leap back into the bazaar cabaret music that Nichole Fischer and Castor Drake were releasing before their debut album came out, showing that they really haven't changed at all, and they're still the same Vile Hour as they were before. Although the song does have a much deeper meaning, especially to Nichole (and to any "suddenly mother" women who listen to the song), the real purpose of the song in this album is to just remind us that Vile Hour is who they are, and they're not going anywhere for quite some time. The happy, yet sinister sounding piano tunes in Plan B come off as a threat, daring anybody to take their spot in the top.

The song has a double meaning: One for people who have had kids and one for people who haven't. The Plan B pill, as many people know, is the pill that works as a backup plan to help prevent pregnancy from happening after unprotected sex or birth control failure. It's not for routine use and only worked three days after sex. But, of course, in the song, the lyric "Plan B" can also be used to literally describe an alternative plan to something. In Nichole's position, as the singer-songwriter, it's probably more likely that she wrote the song with the intention of it being about the pill, but she knew the double meaning that it would have of everybody else. In the song, Nichole Fischer repetitively tells her husband, Sam Fischer, "Leave Plan B behind." Now Nichole Fischer is pregnant with triplets, so it's obvious that Sam did, in fact, leave Plan B way behind. Nichole describes a complicated, difficult relationship in the song, which is basically ever relationship once everything starts getting really serious (marriage, babies, the like). Lines like, "Sometimes it's hard / and sometime you're hard / to take, to find, to be around" show us that Nichole and Sam Fischer are no different from the average couple when it comes to fighting and dealing with family problems, like what to do about the fact that Nichole and Sam's birth control method as failed. But in the end, of course, they "leave Plan B behind" and now they're expecting in the middle of September. Nichole as said about this song before that she doesn't "want women to think that I'm saying that having a child will make a hectic relationship better, because it doesn't. In Sam and I's position, we had a hectic relationship - both of always recording or touring, and the constant drama with our friends - and then I got pregnant. Being pregnant didn't "fix" our relationship, and it didn't make all of our problems go away. But being pregnant brought us closer together, which is what helped fix a lot of our issues... But don't get pregnant just so you can tie a man to you! That's wrong! Don't do that!"



Oh, what a beautiful mess we made
Oh, how I wouldn't have it any other way
Sometimes it's hard
And sometimes you're hard
To take, to find, to be around
But your wings will fly you far
As we jack-knife through our lives
Leave Plan B behind

Oh, what a perfect chaos we found
Sneaking through the cracks of what's not normally allowed
Sometimes it's dark
And sometimes you're dark
You hide it well, but still I find it
Oh, your voice will carry you far
As we make tracks and trouble
Leave Plan B behind

Oh, what a senseless fortune we acquired
Who knew what was coming
When we built and burnt that pyre?
Sometimes it's lost
And sometimes we're lost
In time, in thought, in reason and rhyme
Oh, your love will lead you far
As we tear down that wall
Leave Plan B behind


SOUNDS LIKE:
Tori Amos - Mr. Zebra

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Offline genocidal king  
#28 Posted : 23 July 2013 00:57:09(UTC)
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Scott Rose Hilton: This IS why I love Vile Hour. Cabaret music needs to be more in the mainstream and you know you guys are one of my top one favourite acts in the world right now. Much love my kooky little wonders :)

OOC; I want to add to what Jaime said up yonder. You have been a fabulous addition to this forum since you arrived and the best new person we had in a loooooong time, and this just shows why. Great work as always :)
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Offline snap_itshannah  
#29 Posted : 23 July 2013 01:09:28(UTC)
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Quote:
Scott Rose Hilton: This IS why I love Vile Hour. Cabaret music needs to be more in the mainstream and you know you guys are one of my top one favourite acts in the world right now. Much love my kooky little wonders :)

OOC; I want to add to what Jaime said up yonder. You have been a fabulous addition to this forum since you arrived and the best new person we had in a loooooong time, and this just shows why. Great work as always :)


Nichole: Mwah! You're so awesome, Scott. Thank you so much for all your support. I just really think that if everybody got into the groove of cabaret music again, everything would be fine. World peace, end of world hunger, better economy, all that shit that politicians and Sarah McLachlan talk about.

Castor: *whispers* Nichole, he called us his kooky little wonders...

Nichole: *whispers* I know, I'm trying not to squeal with excitement right now...

OOC: You are so sweet to me. Oh my gosh, I think I'm going to cry. Thank you so much. That's really the sweetest thing ever. :)
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Offline snap_itshannah  
#30 Posted : 23 July 2013 13:27:05(UTC)
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TITLE: The Siren Song (feat. Katie Coyle)
BY: Vile Hour (N. Fischer and C. Drake) & K. Coyle
WRITTEN BY: N. Fischer
GENRE: Dark cabaret, piano rock, alternative rock
LABEL: Chaos Records


Castor sits out and Katie Coyle joins in on this song, a real treat to any listener to the indie sort of genre. The song features only a soft piano and Nichole and Katie Coyle's voices as they sing together a homage to the mythical sirens in ancient Greek literature. "The song started out as more of a homage to Margaret Atwood's poem The Siren Song than anything," Nichole states. The poem to the song is based on tells the reader the song that the sirens sing to the ship captains to persuade them to crash their boats into the shore, thus ensuring their death. The sirens, in the song, sing to the sailors aboard the ship about their loneliness and sadness over never having anybody survive their attempts to be with the sirens, but reveal at the end of the poem, after the sailors they've already tried to persuade onto the shore are dead, that they knew exactly what they were doing and were trying to kill the sailors in the first place. "That sort of cunning bitchiness is kind of brilliant, you have to admit..." Nichole has said with a laugh. "We wanted to remake that in this song, only maybe make the sirens seem a bit nicer."

The song talks, obviously, about the sailors and their voyage as Nichole Fischer and Katie Coyle play the part of two sirens on the rocky beaches of Sirenum Scopuli, waiting for their next victims to sail by their shores. They sing, "And sometimes it sailed by the wind / sometimes it sailed by the stars / sometimes it sailed by the captain's map / but it always sailed her into his arms," showing that, no matter instrument the captain used to get some point A to point B, the ship would always end up crashing into the siren's rocks, killing everybody aboard. This line also shows that every ship that sails by is no different from another one in the siren's eyes; all of the boats are just men for them to make into their next victims. Although the sirens are not a sympathetic character in Greek mythology, of course, there's always been a certain attraction to them that Nichole has always found appealing. "The idea of being able to lure men to their death with a song... It may sound sick, but that would be kind of awesome. Your voice and your song are so beautiful that men, knowing that they will die if they do, jump into the water and steer their ships into rocky shores to hear you and be with you. Sirens were the original femme fatales, no doubt about it."

The song keeps a very low, quiet sound to it, both of Katie and Nichole's voices just loud enough to be heard over the music as they sing both of their beginning solo parts, a softly sinister feeling behind each word that practically slithers out of their mouths. Their voices gather more volume as they go on, a hint of malice to their voices. The piano speeds up considerably, playing much louder and with much more force - such is the Vile Hour way - until the last two lines, when the song suddenly cuts back to the quieter, softer side of Nichole and Katie's voices and finishes on both of them hitting the last high note together. The sudden switch back to the softer side of the song gives the feeling as if the ship has crashed, the sailors have drowned, and Siren Nichole and Siren Katie can go back to waiting for the next group of victims. Their fun is over, and now they have to wait to have fun again. The listener feels a sense of sympathy for the two sirens, until they remember that the siren's idea of fun is killing people.


Nichole
Katie
Both


There is a ship
It's sails were like two hearts beating, and
It's pace was like two wrists pulsing
To a compass that fell silent
At the sound of song

And sometimes it sailed by the wind
Sometimes it sailed by the stars
Sometimes it sailed by the captain's map
But it always sailed her into his arms
Again


There is a ship
That foundered in storm
The anchor was missing, and
The whisky was whistling
A ditty of shame and sin

And sometimes it sailed by the wind
Sometimes it sailed by the stars
Sometimes it sailed by the captain's map
But it always sailed her into his arms
Again


There is a ship
It's been moored for too long
And the crew is long gone
The first mate took them with him
To seek a presure, oh! forbidden

And sometimes it sailed by the wind
Sometimes it sailed by the stars
Sometimes it sailed by the captain's map
But it always sailed her into his arms


But the birds sang over the sails
Yes, the birds sang over the sails
And the birds sang over the sails
And the wind cried mutiny


There is a ship
That sails in green waters
And it steers by a light of gold
And far below, the mermen are singing
To sailors who come and go

And sometimes it sails by the wind
Sometimes it sails by the stars
Sometimes it sails by the captain's map

But it will never sail me into your arms
Again, again, again


SOUNDS LIKE:
The Dresden Dolls - Me & The Minibar

Edited by user 23 July 2013 13:27:38(UTC)  | Reason: Not specified

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Offline snap_itshannah  
#31 Posted : 24 July 2013 11:36:12(UTC)
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TITLE: Home
BY: Vile Hour (N. Fischer and C. Drake)
WRITTEN BY: N. Fischer
GENRE: Alternative rock, gothic rock, post-punk revival, indie rock
LABEL: Chaos Records


For this album to truly be a Vile Hour album, there's a certain about of darkness that needs to go into it, and up until this point, the album has been way too happy. So enters the song Home, a song about Nichole Fischer trying to find herself in a world that is all too unforgiving. The song has a certain gothic rock feel to it, something much darker and harder than what Vile Hour's music is normally known for, but still written much like the way a Vile Hour song would go. Upon just reading the lyrics, anybody can see that this song is one of Nichole's masterpieces, and one of her deepest and most meaningful songs to date. Each verse tells a different story of the different places Nichole went to, looking for something to take away her pain, or something that would answer all of Nichole's unanswered questions. The chorus of the song repeats, "Because I've got to maintain the madness / Just so the stillness makes sense to me / I've got to keep the momentum rolling along / so that no one can stop me / No one can drag me / Home." If Nichole is home, she will have to deal with the emptiness of her life, but if she continues moving from city to city, and continues trying to ignore her depression and her loneliness, she hopes it'll never catch up to her.

She starts the song off with the story of how she went to New York City when her grandfather was dying so that she wouldn't have the deal with the emotions she was feeling when he finally did pass away. She sings about how she stayed in silence in New York, never playing or singing the entire time. She drank a lot, and flirted with every stranger she met, but never once did she do the song that she loves, because that would mean having to feel something. She ends this first story with a scene of her going up on the rooftop of the apartments she was staying in and saying goodbye to her grandfather from so far away. But when, of course, she doesn't get an answer back from her grandfather and it starts to rain, she begins to feel sadness and runs away from it, leaving the scene crying.

She starts her second story in San Francisco with a friend, taking a different approach to not feeling. She sings in San Francisco, trying to force all of her emotions into the song that she sings so when she's done, she won't have to deal with them anymore. She sings for herself, but she also sings for everybody else in the city, wanting for them to be rid of their negative emotions as well. Nichole sings: "I made love to the microphone so they would not feel / So empty inside on this wintry night / In this city of madman and loners and stoners / And lovers forgotten in favor of rotten misfortunes with money / But I still went home alone." No matter what she does to try to free herself from her depression, and try to free others from theirs, she always has to go back home, and she always goes back alone - Nichole has to face her own demons before she can let anybody else in.

Nichole breaks the forth wall of the music for a moment, singing: "In this very room, where some of my favorite songs have been written / I'm writing this one" as she recognizes her song as what it is: The story of her trying to overcome her own depression. She continues to talk about how this song will help her when she finally surrenders to the depression and lets it overwhelm her. "I'm not pretending / To stay still," she sings, finishing the verse to tell the listener that she knows that no matter how long she runs from these feelings, they will eventually catch up with her. She launches into the next verse, practically screaming: "So next week, I'll go to Iceland / Then onto London / And into the arms of my favorite stranger / And then onward / Because I cannot, I will not, I cannot, I will not, I will not, I cannot / I will never stop," as she vows to not let herself give into the depression that is trying to bring her down, even if it means that she will have to continue running from it for the rest of her life.



I went to New York and paid lots of money
To stay in the silence and not play for anyone
I picked up a bar tab and drank myself stupid
I flirted with strangers just to feel attractive
I stood on a rooftop and looked to the skyline
The cloud started rolling in as I started to say
"Goodbye" to my grandfather, who's at home dying
The rain started in and I was left crying

Because I've got to maintain the madness
Just so the stillness makes sense to me
I've got to keep the momentum rolling along
So that no one can stop me
No one can drag me
Home

I went to San Francisco with my best friend
To sing in a bar full of gay women who wanted me
But they did not know me, though they though I sang prettily
I made love to the microphone so they would not feel
So empty inside on this wintry night
In this city of madman and loners and stoners
And lovers forgotten in favor of rotten misfortunes with money
But I still went home alone

Because I've got to maintain the madness
Just so the stillness makes sense to me
I've got to keep the momentum rolling along
So that no one can stop me
No one can drag me
Home

In this very room, where some of my favorite songs have been written
I'm writing this one
To sing and remember
These days in Decemeber
Where I have surrendered
I'm not pretending
To stay still

So next week, I'll go to Iceland
Then onto London
And into the arms of my favorite stranger
And then onward
Because I cannot, I will not, I cannot, I will not, I will not, I cannot
I will never stop

Because I've got to maintain the madness
Just so the stillness makes sense to me
I've got to keep the momentum rolling along
So that no one can stop me
No one can drag me
Home


SOUNDS LIKE:
She Wants Revenge - These Things

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Offline genocidal king  
#32 Posted : 24 July 2013 17:34:28(UTC)
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Katie: beautiful beautiful. I loved working with you guys! So different to anything else out there and it was amazing to get the chance to sing with you. Such fun people and I think our song came out wonderfully. Thank you :)
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Offline Osprey037[Reported Failure]  
#33 Posted : 24 July 2013 18:34:57(UTC)
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OOC: This basically sums up how I feel about this RP.

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Love what you did with Nichole and Clara. Reminds me a bit why I'm single. :p Lyrics are amazing and descriptions are on par. Cant wait for the rest. Again. The lyrics. I want so much for them to actually be in songs.
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I might give Satan a swirly
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Offline snap_itshannah  
#34 Posted : 24 July 2013 23:43:39(UTC)
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Quote:
Katie: beautiful beautiful. I loved working with you guys! So different to anything else out there and it was amazing to get the chance to sing with you. Such fun people and I think our song came out wonderfully. Thank you :)


Nichole: No, Katie, thank you! You added the element to The Siren Song that it really needed, and now it's perfect. I would love to work with you again, some time in the future when I can get myself together enough to write another album. Which will probably be never. Love you, girl! Thank you again!
Offline snap_itshannah  
#35 Posted : 24 July 2013 23:52:41(UTC)
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Quote:
OOC: This basically sums up how I feel about this RP.

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Love what you did with Nichole and Clara. Reminds me a bit why I'm single. :p Lyrics are amazing and descriptions are on par. Cant wait for the rest. Again. The lyrics. I want so much for them to actually be in songs.


OOC: Enter stage left: Hannah's third crying scene. As if all of your kind words weren't enough, now there's a gif. There's a fucking gif, and I think I see Jack Nicholson clapping it. Life is complete.

In all seriousness, though, thank you so much. After you released Rome, I went through all my lyrics and just thought, "Nope. No way I can compare to Rome at all... nope...." So you telling me that you like my lyrics means to much, you have no idea. Thank you thank you thank you!
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Offline snap_itshannah  
#36 Posted : 25 July 2013 05:23:20(UTC)
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TITLE: Sympathies with Satan
BY: Vile Hour (N. Fischer & C. Drake)
WRITTEN BY: N. Fischer
GENRE: Alternative rock
LABEL: Chaos Records


Vile Hour pulls out another gem for their upcoming sophomore album, 'My Phoenixes.' The two previous singles associate this the newly announced album, So Pretty; So Lonely and Like Snakes dealt with personal things in the band's life (the first being the sense of loneliness and depression associated with being famous, and the other being Nichole Fischer's brief relationship with Erica Hess), but this newest single seems to remind the fans of Vile Hour's debut album, where the song's meanings didn't always associate to one thing in the band's life. Sympathies with Satan is less of a story about events, and more of a statement about both Nichole Fischer and Castor Drake's view on the world around them. They start off the song by talking about 'the debt collector' who is coming to break their fingers and cut out their tongues so that they can no longer make their music. Fischer goes on to sing that with her tongue cut out, she'll be forced to just sing "ah-ha-ah-ha-ah / to the top of the pop charts." The whole first verse is a stab at, firstly, the listeners who say that they're too "weird" or "bizarre" to be an enjoyable band. Because the people who listen to music are the people who keep musicians working, if the listeners (or the "debt collector," according to Miss. Fischer's lyrics) don't find Vile Hour's music enjoyable, they would metaphorically break her fingers and cut out her tongue, forcing her not to be able to make music anymore. The last part of the first verse is also a stab at the pop genre of music. Fischer states that with broken fingers and no tongue, she can still make her way to the top of the pop charts, showing how little effort she thinks it takes to be a pop star. She also works in an enjoyable reference to a Simon and Garfunkel song.

Her second verse continues on in this same judgmental attitude as she talks about the Grim Reaper, who is wildly bored and depressed because other people in the world are doing his job for him. This isn't as much of a stab at one single group of people as it is a stab at everybody in the world. After a short scat singing solo, Nichole goes on to sing about Jesus and his second coming, showing not only does she (obviously) have an opinion on the state of religion on the world, but also that she doesn't care that she's probably going to upset some people. She openly calls Jesus a "selfish bastard" for wanting a second coming, but then goes on to make a sexual joke about how "Some of us don't get to come even once." She also mentions a "sealed deal with Satan" to love everybody later in that same verse, and how the Saviour's "fans" avoid her door (talking about Mormons, Jehovah's Witnesses, and any other Christian sect that tends to go door-to-door.) Obviously a stab at the religious people in the word who are hypocritically judgmental, and hate more than they love.

There's another scat singing solo before the song reaches it's last (and probably most offensive, if people were to get offended by this song) verse. It starts off with Nichole saying that the Grim Reaper should kill all of her critics and haters so that she'll never have to stop singing, and then ends with her suggesting that Jesus and Satan should have sex so that they can both see how intolerable they are. Although it's obviously that Nichole has only written lyrics like this to get a rise out of certain people, she also has made her point in the last part of the verse, saying that both sides of the argument (Christians and religious people vs. atheists, agnostics, non-religious people) both have their fair share of people who are annoyingly intolerant and judgmental. The long ends with another scat singing solo, this one much longer. The last line of the song is Nichole softly saying, "Oh..." before the music fades out.

The song starts out with a single guitar strumming before Vile Hour (piano and drums) joins the guitar, all of them playing a fairly upbeat tune together. The upbeat tune starts to slow down and take on a more, slightly depressing, if not ominous tone before Nichole starts singing around a minute into the song. Nichole's voice takes on it's normal, deep, emotional voice throughout the song. The whole song keeps a very slightly ominous, but still rather upbeat tone throughout the whole song, as if Nichole were happy that she's getting to share her opinions about life and the rest of the world, but also rather upset that all of her opinions tend to be negative.



See, the debt collector's coming
He's come to break my fingers
So I can't play piano any, any more
And see, the debt collector's coming
He's come to take my tongue
So I can't sing any songs any more
I'll just go, "Ah-ha-ah-ha-ah"
To the top of the pop charts
"Ah-ha-ah-ha-ah"
In your iPods
"Ah-ha-ah"
That's the sound of silence,
Simon and Garfunkel

And see, the Grim Reaper is coming
He's sharpening his scythe
Until he can see his own reflection
And you see, the Grim Reaper is crying
His business is down the drain
Because people can do it so much quicker
And cheaper, and better...

Ba-da-dum-bum, ba-dum, ba-dum
Ba-da-dum-bum, ba-dum, ba-dum
Ba-da-dum-bum, ba-dum, ba-dum
Oh
And Ba-da-dum-bum, ba-dum, ba-dum
Ba-da-dum-bum, ba-dum, ba-dum
Ba-da-dum-bum, ba-dum, ba-dum
Oh

And, you see, our Saviour's second coming
He's such a selfish bastard
Some of us don't even get to come once
And you see, his fans know to avoid my house now
Because I've signed a sealed deal with Satan
To just love everybody that I can

Ba-da-dum-bum, ba-dum, ba-dum
Ba-da-dum-bum, ba-dum, ba-dum
Ba-da-dum-bum, ba-dum, ba-dum
Oh
And Ba-da-dum-bum, ba-dum, ba-dum
Ba-da-dum-bum, ba-dum, ba-dum
Ba-da-dum-bum, ba-dum, ba-dum
Oh

And you see, I think the Grim Reaper should go after
That fucking debt collector
So I can sing whenever I fucking goddamn well please
And our Saviour should just make love to Satan
So both can see that either
Are intolerable
Without the other...

Ba-da-dum-bum, ba-dum, ba-dum
Ba-da-dum-bum, ba-dum, ba-dum
Ba-da-dum-bum, ba-dum, ba-dum
Oh
And Ba-da-dum-bum, ba-dum, ba-dum
Ba-da-dum-bum, ba-dum, ba-dum
Ba-da-dum-bum, ba-dum, ba-dum
Oh
And Ba-da-dum-bum, ba-dum, ba-dum
Ba-da-dum-bum, ba-dum, ba-dum
Ba-da-dum-bum, ba-dum, ba-dum
Oh
And Ba-da-dum-bum, ba-dum, ba-dum
Ba-da-dum-bum, ba-dum, ba-dum
Ba-da-dum-bum, ba-dum, ba-dum
Oh...


SOUNDS LIKE:
Frank Black - I Heard Ramona Sing
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Offline snap_itshannah  
#37 Posted : 25 July 2013 13:30:19(UTC)
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TITLE: Without You
BY: Vile Hour (N. Fischer and C. Drake)
WRITTEN BY: N. Fischer
GENRE: Electroclash, synthpunk, dance-punk
LABEL: Chaos Records


This song is a fairly unexciting song, and was mainly put into the album to be the "dance song." Although Nichole cannot dance at all, she has been witnessed several times trying, and has said, quote: "I would dance to my own music if I could." So here she is, making her own dance number. The beat is heavy, but in a sort of Vile Hour ironic way, it's almost hard to dance to. The beat is slow, and Nichole's singing is very monotone, leaving the song as the type of song that would play during the slow part of a rave. Also, in a very Vile Hour sort of way, although the beat and lack of instrumental accompaniment would make the song seem like it might be on more of the shallow end of lyrics, the song actually still has a very deep meaning behind their lyrics.

In the song, Nichole sings about the moment in a relationship when each partner realizes that there's nowhere else that they can go with each other, but they can't imagine life without each other. She sings about the metaphorical journey that their relationship has brought them to, and how she literally cannot go any farther with her lover, no matter how much her "feet" may disagree with her (Once, I could go for a walk and just trust / That my feet would take me where I wanted to go / And I didn't have to think / That they might have their own bright ideas of where I should be going / Or not going.) At the end of the song, the "reaper" comes for their dead relationship, telling them, ""Well, you never could have guessed / Never could have guessed / How long it took to get here / Or how far you've got left to go," as it revealed that, then though the relationship is dead and both partners know that, they have much farther to go before they're ready to give it up together. The song is obviously not as complex and imaginative as other Vile Hour songs have been on this album, but this song serves it purpose as being Nichole's dance song, and she didn't intend for it be anything more than that.



Once, I could go for a walk and just trust
That my feet would take me where I wanted to go
And I didn't have to think
That they might have their own bright ideas of where I should be going
Or not going

But these days, I wake up and never can be sure
If the feet at the end of the bed
Will be muddy and cracked
Or fresh as a lily
When I meant to walk them raw

What will I do with you?
What will I do without you?

Well, we can't go on
No, we can't leave this place
And we can't turn left
And we can't turn right
And we can't go on
My love and I

What will I do with you?
What will I do without you?

What is this place we've come to?
And what is it we've left behind?

Now north, south, east, west
Are all dead to our scents
And the reaper whispers, sweet and low,
"Well, you never could have guessed
Never could have guessed
How long it took to get here
Or how far you've got left to go."

What will I do with you?
What will I do without you?

What will we do?
What can we do?


SOUNDS LIKE:
Peaches - I U She

Edited by user 25 July 2013 13:31:28(UTC)  | Reason: Not specified

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Offline snap_itshannah  
#38 Posted : 25 July 2013 22:45:42(UTC)
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TITLE: Goodbye
BY: Vile Hour (N. Fischer and C. Drake)
WRITTEN BY: N. Fischer
GENRE: Punk rock, indie rock, alternative rock
LABEL: Chaos Records


This song launches the listeners back into the sounds that we remember from the very beginning of the album: The punk rock side of Vile Hour. It's an interesting song, and about a pretty well-documented event: Nichole Fischer and Erica Hess' relationship. If you're thinking, "Wait, I thought there was already a song about this, and Nichole got into some trouble from Erica's wife for writing it!" Well, you're right. Vile Hour's second single off this album, entitled Like Snakes, was written by Nichole Fischer while she was on Big Brother the day that Erica had been kicked out. But Nichole's emotions associated with Erica didn't stop there. Long after Big Brother, when Nichole and Erica had ultimately chosen Sam Fischer of Act of Hate, and former Lashes singer Natalya Dobros as their significant others instead, Nichole and Erica had a moment together aboard the house boat that Erica shares with the rest of the Hess clan. It was a simple kiss, but many, including Natalya Dobros, could see that there was a bit more behind it, almost causing Erica and Natalya's relationship to fall apart. This is what began the long long feud between Nichole Fischer and Natalya Hess that only just recently ended a few months ago. But this song isn't about Natalya and Nichole, this song is about the less talked about feuds between Nichole Fischer and her best friend and former lover, Erica Hess. "All we did was fight for a while, it feels like. We'd get to the point where we were screaming at each other non-stop, then all of the sudden one of us would break down in tears, and it the fight would be over... I can't stand to see Erica cry, and I guess she must feel the same way about me, too, because that was generally how it went every time," Nichole has said about those times between her and Erica. "It was turbulent. I think I got kicked off of the Duke [the Hess clan's house boat] five or six times before one of us was finally like, 'Okay, let's figure this shit out.'"

This song was written during one of those fighting times between Erica and Nichole. "I was angry, and I channeled my anger into a song, and I came out with this little beauty," Nichole has said. "I don't think Erica will be mad when she hears it. I mean, the past is the past. Who cares if I wrote a song about it?"

The song explicitly talks about the thoughts going through Nichole's head during her and Erica's fights, starting off with confusion, then going to anger, then acceptance, and then furiousness. Even in Nichole's confusion, she's still snippy towards Erica, singing, "Thank you for taking advantage of my insecurities, you really are a pal," in the first verse, the song immediately launching the listener into a hate and anger filled number. The chorus, "Oh, I'm not one to linger in the past / But my dreams won't let sleeping dogs lie / So I guess you deserve a little song in this book / Before we say goodbye," is another instance of Nichole Fischer referencing the fact that she knows this is a song that she is writing, almost like breaking the fourth wall of music. The chorus is basically telling Erica that no matter how much she wants to forget the past - like Big Brother, or her feelings for Erica - she can't, but what she can do for Erica is write her this song, explaining all of her feelings towards her right now. The second verse is much more vicious, starting with "I don't know how you justify your predatory nature to all other folks," which immediately makes Erica look like the bad guy in the situation. Nichole's anger towards Erica in this moment literally spews out of every word she sings, as if she's trying to prove that she's not the bad guy in the situation, Erica is. The acceptance verse is the one that basically sums up Erica and Nichole's relationship on Big Brother as Nichole sings: “Thanks for being horny / When I was much the same / I'm sorry I wasn't a little more responsive / The moment you came / Through my door.” Although Nichole is a very likable person with many redeeming qualities, this song does show the childishness of her as she attempts to make herself seem like the victim in this situation (ex: Making it seem like Erica was coming to her for sex and not the other way around, saying that Erica had a “predatory nature” to her, Erica taking advantage of Nichole’s insecurities) rather than taking responsibility for any of her own actions. The last verse is one of the best verses in the song, when all of Nichole’s fury flows into the lyrics as she finally shouts “Fuck you” at Erica, both literally and metaphorically. Not only in the last verse does Nichole attempt to rub in Erica’s face that her life is going better than Erica’s is, but she also insults Erica’s bedroom abilities (“It takes two to tango, and two to fuck, I hope in tango you might have more luck”), and takes on a more mature sound to her voice, as if this were the end of the conversation, Nichole has won, and that’s all there is to it. At the end of the song, the chorus changes a bit, as Nichole has to admit that she let Erica get to her, and that she can’t just let these emotions go - Nichole has to let Erica know how she feels about her for Nichole to feel better again. (“Well, apparently, I am one to linger in the past / And my dreams won't let sleeping dogs lie / So I guess you deserve a little song in this book / The next time that you and I say goodbye)



Thank you, yes, I guess that's the word I've been searching for for you
It took four months and a lot of cigarettes for me to arrive at this one, yes, ma'am
Thank you for taking the other point of view in a story that we set in concrete
Thank you for taking advantage of my insecurities, you really are a pal

Oh, I'm not one to linger in the past
But my dreams won't let sleeping dogs lie
So I guess you deserve a little song in this book
Before we say goodbye

I don't know how you justify your predatory nature to all other folks
It seems to me that it's much easier to be the masked ride than the wheels or the spokes
I can't forgive and I can't forget, I just relieve and occasionally regret
I sincerely doubt that I'm going to call
So maybe it's time you should call somebody who cares

Oh, I'm not one to linger in the past
But my dreams won't let sleeping dogs lie
So I guess you deserve a little song in this book
Before we say goodbye

Thanks for being horny
When I was much the same
I'm sorry I wasn't a little more responsive
The moment you came
Through my door

Oh, I'm not one to linger in the past
But my dreams won't let sleeping dogs lie
So I guess you deserve a little song in this book
Before we say goodbye

Wait... fuck you! Yes, I guess that's the phrase I've been searching for all of this time
It took a lot of time for me to forgive my carnivorous curiosities
It takes two to tango, and two to fuck, I hope in tango you might have more luck
But I'll propose a toast to you anyway, because four months later, I'm okay!

Well, apparently, I am one to linger in the past
And my dreams won't let sleeping dogs lie
So I guess you deserve a little song in this book
The next time that you and I say goodbye


SOUNDS LIKE:
Ida Maria - Forgive Me

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Offline snap_itshannah  
#39 Posted : 26 July 2013 10:29:47(UTC)
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TITLE: Berlin Wall
BY: Vile Hour (N. Fischer and C. Drake)
WRITTEN BY: N. Fischer
GENRE: Indie rock, dream pop, lo-fi
LABEL: Chaos Records


Another especially weird, Vile Hour-esque song. Unlike most Vile Hour songs, that seem to have a deeper meaning behind the words being sang - like the metaphor for the Wizard of Oz used to describe Nichole’s feelings towards the celebrity world, or the metaphor for phoenixes used to describe Nichole’s children in the album title song My Phoenixes - this song doesn’t have any deeper meanings behind what’s it’s about, unless you looked really hard and really wanted them to be there, because Nichole certainly didn’t write them in. The song is simply about the fall of the Berlin Wall, and is sung through the point of view through the eyes of an East German who desperately wants to flee to the West. The rise and the fall of the Berlin Wall was sudden and quick for everybody involved, which is why the song has such a dream-like feel to it, Nichole’s voice breaking and childlike as she sings, like an onlooker who can barely believe what they’re seeing, feeling like they are truly in a dream. Nichole sings in confused pieces of thought, as if the shock of the fall of the wall is so great that coherent thoughts are no longer possible, at least not for now. The song gives the point of view look through the Berliner’s eyes while they are watching the wall fall down, and then sometime much later, as she sings, “As in Berlin / The wall’s remains / Are scattered around / The world again / Never / Never rebuilt / Never forgotten / We never will.” The song is an emotional song, but it’s a different kind of emotion than the fans of Vile Hour are used to from Nichole Fischer. The song doesn’t have the hint of Nichole’s normal anger, or even her yelling voice that she most often uses in almost every song. No, Nichole takes a different approach with Berlin Wall, her voice becoming very fragile, as if she were a small child on the verge of tears, or a young mother (as she really is) teeter-tottering between obscene happiness and suicidal depression. The character that Nichole sings as in the song is hesitant to be happy and joyful for the fall of the wall, as if she’s waiting for the next horrible thing to happen. “Sleep now / Can we sleep now? / We can sleep now, can't we? / Sleep now / Let us sleep now / We can sleep now,” she sings at the very end of the song as she comes to an understanding with the idea of an open border, and a newly opened life.

As in Berlin
The wall, my friend
It rose above
Then fell again
No dreams of sleep
The world is flat
Its core is warm
Its night are black

And the water runs colder in the winter
As in Berlin
The walls are down

As in Berlin
The wall, my friend
Reflects the start
Recalls the end
I keep the piece (peace)
Inside my heart
To stall the end
Recall the start

And the water runs cold in the winter
As in Berlin
The wall came down down down down down

Sleep now
Can I sleep now?
Let me sleep now

As in Berlin,
The wall remains
Are scattered around
The world again
Never
Never rebuilt
Never forgotten
We never will

Sleep now
Can we sleep now?
We can sleep now, can't we?
Sleep now
Let us sleep now
We can sleep now


SOUNDS LIKE:
Sparklehorse - Jack’s Obsession

Edited by user 26 July 2013 10:35:10(UTC)  | Reason: Not specified

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erich hess on 26/07/2013(UTC)
Offline snap_itshannah  
#40 Posted : 26 July 2013 23:21:39(UTC)
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TITLE: My Phoenixes
BY: Vile Hour (N. Fischer and C. Drake)
WRITTEN BY: N. Fischer
GENRE: Alternative rock, gothic rock, post-punk revival, indie rock
LABEL: Chaos Records


And the title song finally presents itself near the end of the album. Uncharacteristically like other Vile Hour songs, this song has an instrumental opening that lasts for almost two minutes before you hears Nichole’s low voice, almost like a gothic rock-electronica fanfare. Nichole’s voice resonates as she sings, a strange combination of happy, fear, confusion, and sadness flowing through her - the same kind of emotions any new mother has, even mythical ones. In the song, Nichole uses the metaphor of watching a new phoenix rise out of the ashes of another to symbolize the birth that she is getting ready for. Obviously, Nichole giving birth won’t be as easy as watching her children form from ashes, but the metaphor works just the same. Her first verse talks about her need to be alone to prepare for never being alone again. “I need to build a little fire in my heart / Which will spit and spark until my death” uses both the fire theme throughout the whole song, and talks of Nichole preparing to love something until she dies - something that she’s never pictured herself doing before she met her husband and got pregnant. The second verse talks about her actually giving birth, speaking of the children as they “unfurl the pretty flames / that have my arms / which I will raise up to the sky.” She describes the reactions of a first mother perfectly, singing, “And I will sing ‘Glory Be’ / And inside, whisper, ‘help me, please’ / And shout out ‘love, love, love’ / For eternity.” When you have a child, there’s no one emotion that you feel - all of them hit you at one time. Nichole’s feelings of immediate love and happiness, but also fear, is completely normal. She then sings the chorus of the song for the first time here, “Oh, what have I become? / And where is my mother? / Oh, bring me my sticks and spices / That I may build this birthing pyre” which is both a reference to how Nichole has to come to terms with the fact that she is also a mother now, and the fact that her mother won’t be there for her when she gives birth. Although it’s hardly ever talked about, especially by Nichole Fischer, but Nichole’s parents have always been very disapproving of Nichole’s choice to follow music, and refused to stay for her wedding to Sam Fischer, so it’s likely that when Nichole goes into labor, you can expect that her mother won’t be there.

Nichole starts the next verse with, “She says I have the soul of the sun / But I'm yet to ignite it / I'm yet to invite it / And he says I'm not around any more / But he still tastes the smoke on my tongue.” It’s unclear who Nichole is talking about here, although we can assume that the man she is talking about is her husband, Sam Fischer, telling her that she seems a lot more distant since she got pregnant. The line “But he still tastes the smoke on my tongue” adds to the fire theme of the song, but also is a bit of a nod towards when Nichole was caught smoking on her wedding day, while she was pregnant. The woman that Nichole sings back in this verse could very well be Erica Kobayashi, Nichole’s best friend, who has always been a big supporter for Nichole since she got pregnant, and a huge supporter of Nichole and Sam’s relationship. The next verse is of the same beat as the line about the arms unfurling from the flames, but then time it is the legs: “But I will unfurl the pretty flames / That have my legs / And waltz away my flesh and feathers / And I will cry tears of glee / And I will beg you to save me / But I'll be flying, fly, flying/ It's mythical policy.” Again, Nichole talks about the different emotions she will have when her babies are born, this time with so much happiness that she feels like she’s flying, but also enough fear for her to beg for somebody to save her. She repeats the chorus again, and then sings, “Just give me a thousand years, my love / I'll meet you by the ashes,” before singing the chorus again. Nichole ends the song through the point of view of her children as they come to life and have conscious-thinking, asking themselves, “What have I become? / And where is my mother?”


I need to find a little solitude, my love
In which to catch alight my breath
I need to build a little fire in my heart
Which will spit and spark until my death

So I can unfurl the pretty flames
That have my arms
Which I will raise up to the sky
With a twisted smile
And I will sing "Glory Be"
And inside, whisper, "help me, please"
And shout out, "love, love, love"
For eternity

Oh, what have I become?
And where is my mother?
Oh, bring me my sticks and spices
That I may build this birthing pyre

She says I have the soul of the sun
But I'm yet to ignite it
I'm yet to invite it
And he says I'm not around any more
But he still tastes the smoke on my tongue

But I will unfurl the pretty flames
That have my legs
And waltz away my flesh and feathers
And I will cry tears of glee
And I will beg you to save me
But I'll be flying, fly, flying
It's mythical policy

Oh, what have I become?
And where is my mother?
Oh, bring me my sticks and spices
That I may build this birthing pyre

Just give me a thousand years, my love
I'll meet you by the ashes

Oh, what have I become?
And where is my mother?
Bring me my sticks and spices
That I may build this birthing pyre

What have I become?
And where is my mother?


SOUNDS LIKE:
She Wants Revenge - Red Flags and Long Nights

Edited by user 26 July 2013 23:56:51(UTC)  | Reason: Not specified

thanks 1 user thanked snap_itshannah for this useful post.
erich hess on 26/07/2013(UTC)
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