RadixJournal - February 14, 2024


Depeche Modeļ¼š Exciter


Episode Stats

Length

54 minutes

Words per Minute

120.165596

Word Count

6,502

Sentence Count

318

Misogynist Sentences

6

Hate Speech Sentences

8


Summary

In this episode of Can You Feel A Little Love, we review Depeche Mode's 1987 album Exciter. We discuss the album's history, its evolution over the years, and why we still find it utterly forgettable.


Transcript

00:00:00.000 Can you feel a little love?
00:00:30.000 I'm wondering if we're being punished a little bit through having to review this album.
00:00:39.480 I guess that's a weird thing to say for this faithful and devoted podcast that we have launched.
00:00:50.200 But we actually recorded this a week ago, and I thought our session was actually pretty good.
00:00:55.700 And particularly with respect to the fact that we were reviewing the Exciter album.
00:01:02.800 And I think we actually were trying to find some tidbits, at least put it into context or something.
00:01:09.260 And then I recognized as I was ending the Zoom call that we had forgotten to record any of it.
00:01:15.880 So we were just talking.
00:01:18.000 And that was pretty frustrating.
00:01:21.380 But I've recovered.
00:01:23.340 You know, when I started talking the last time, I said that this album was better than I remembered.
00:01:33.020 Even though it is the album that I've listened to least often, by far, of anything they've ever done.
00:01:41.980 I have listened to A Broken Frame more than this album.
00:01:45.620 I've definitely listened to Speak and Spell more than this album.
00:01:49.540 And I've listened to Delta Machine, etc.
00:01:53.180 Other albums that are questionable, I've listened to a lot more.
00:01:58.300 And I guess I was kind of introducing myself to this album for the first time.
00:02:05.560 And a lot of this might have to do with my own biography a little bit.
00:02:11.100 So I was born in 1978.
00:02:14.100 And as I've mentioned a few times now, I just have this unique memory of listening to Depeche Mode outside of my sister's room.
00:02:26.460 So she had closed the door, you know, 8 p.m. at night or something.
00:02:31.300 We should have been to sleep.
00:02:33.160 And I was, I don't know how old I was.
00:02:35.880 Maybe, let's say, eight.
00:02:37.700 Somewhere about that age.
00:02:39.540 Where you're, you know, you can talk.
00:02:41.240 You can think.
00:02:42.020 You have a certain awareness.
00:02:43.540 But you're also learning about things.
00:02:46.000 Everything in the world is new.
00:02:47.200 And I remember hearing, it was either some great reward or black celebration.
00:02:53.020 And just hearing this new sound that I'd never heard before.
00:02:58.020 And it was everything.
00:02:59.340 It was the minor key, the repetition, the tough attitude, singing about pain or, you know, God with a sixth sense of humor or black celebration.
00:03:12.040 I don't know what it was.
00:03:13.320 But it was just something I'd never heard before.
00:03:15.380 And I have been faithful and devoted ever since.
00:03:19.360 I mean, it's remarkable.
00:03:21.060 But when I graduated from college in 2001, I don't know whether it was a kind of snobbery of a young person where, you know, you're now, when you're eight, you're just entering kind of consciousness, I guess.
00:03:37.640 But, you know, when you're 21, 22, you maybe are thinking a little more highly of yourself.
00:03:45.100 You're throwing away those childish things or whatever.
00:03:49.280 And then once you get a little bit older, you come back to them.
00:03:51.540 So that was kind of like, that was how it was with me.
00:03:56.640 I don't think I ever purchased this album.
00:03:59.180 And it would have been on CD at the time.
00:04:01.400 And I don't remember really listening to it.
00:04:05.440 And when I would listen to Depeche Mode as a, you know, as a playlist or something like that, I've heard these songs.
00:04:17.380 But I just, I wouldn't really listen to them intently.
00:04:20.220 And I wouldn't really listen to them as background when I'm working out or going skiing or hanging out at the house or cooking or something.
00:04:28.460 They just never, they've never been a part of my life.
00:04:33.820 And in a way that I can remember where I was when I bought Violator in Texas.
00:04:41.360 I can, as I've said before, I remember this mid-80s Depeche Mode sound.
00:04:46.100 I don't quite know the album, but I just remember where I was standing there, listening to it.
00:04:51.720 I can remember going to their concerts.
00:04:53.960 I can remember all of these things.
00:04:57.100 And this is like a blank space.
00:05:00.200 And when I listened to the album kind of for the first time in a way.
00:05:04.640 So I got the vinyl, you know, I splurged, I don't know how many dozens of dollars I spent on this reissue.
00:05:13.900 It's nice.
00:05:14.860 It's on vinyl.
00:05:16.040 It does make a difference with good speakers.
00:05:20.600 It sounds better.
00:05:22.060 I'm hearing a lot more.
00:05:24.940 But I still just don't like it.
00:05:27.280 And I just still find it utterly forgettable.
00:05:29.900 And I can't even quite put my finger on why that is.
00:05:36.560 It's a mystery.
00:05:37.660 But I guess it's a mystery I don't want to solve.
00:05:40.560 It's like, it's the reverse of a whodunit.
00:05:43.460 It's the who didn't do it.
00:05:44.900 Can you feel a little love?
00:05:54.320 Can you feel a little love?
00:05:59.900 Dream on, dream on.
00:06:09.120 It's not interesting.
00:06:11.760 And I do like some numbers from here.
00:06:15.600 And I think I said this about Delta Machine.
00:06:18.340 Like, I could imagine myself walking into a lounge or something.
00:06:24.240 And one of these songs is in the background and it's kind of cool and it has a certain something.
00:06:30.500 But that's probably the most I would say about it.
00:06:33.580 Last week, when we, our ill-fated session, which never went off, I did almost like it more than I thought I would because I was hearing a lot of things for the first time.
00:06:46.880 Maybe actually for the first time in some cases of certain tracks.
00:06:52.980 But I kind of had to force myself to listen to it.
00:06:57.360 And I was, found myself going to check Twitter or playing chess on my phone or something.
00:07:04.020 I was just bored.
00:07:04.920 I don't know exactly what it is.
00:07:10.960 And we can get into that.
00:07:11.960 Maybe it's the producer.
00:07:14.000 Maybe Depeche Mode was kind of suffering a certain midlife crisis of sorts.
00:07:18.520 To their credit, I think they put out their best album of the 21st century, maybe.
00:07:26.560 Or definitely the best album in 10 years with playing the angel in a couple of years.
00:07:32.720 So they kind of responded to it.
00:07:34.440 Maybe they listened to the critics or maybe they were critics themselves.
00:07:39.380 But as a piece all on its own, I just find it utterly forgettable.
00:07:47.080 And I find almost every song to be dispensable.
00:07:51.660 That is, if there were some quirk of the universe where this album didn't exist, Depeche Mode would be the exact same band.
00:08:01.600 They didn't grow with this album.
00:08:04.360 They definitely don't have any song on here that is like rocking, amazing, classic, anthem.
00:08:12.820 There's some songs that I like, you know, fair enough.
00:08:15.240 And there's some songs that I even find kind of cute, like Goodnight Lovers and things like that.
00:08:21.300 But that's the most I can say about it.
00:08:23.680 And I don't think I would say that about any other album.
00:08:27.040 You know, looking back at A Broken Frame, maybe it's because I know what's going to come after.
00:08:31.740 So I'm projecting backwards onto it.
00:08:33.680 But I like a lot of their songs.
00:08:37.240 It's interesting.
00:08:37.960 It's almost historically interesting.
00:08:39.400 And, you know, with See You and a couple of the songs, you really see them like getting in to the mode, so to speak.
00:08:47.260 They're going where they need to be going.
00:08:50.540 This one, it's like they're going where they shouldn't go, actually.
00:08:55.260 And I don't know.
00:08:58.300 I guess it's kind of like the biggest insult that I could ever say about a rock album is that it's forgettable.
00:09:06.660 Yeah, I would agree that this album is forgettable.
00:09:09.360 But real quick, what were you listening to around the turn of the century?
00:09:14.540 Or were you just like reading Nietzsche or something like that?
00:09:17.160 Yeah.
00:09:17.560 Well, I was definitely getting into opera.
00:09:19.860 I was listening to a lot of Wagner and Verdi and that kind of stuff.
00:09:26.320 I was thinking more highly of myself and kind of tossing away all the stuff that I was into in high school.
00:09:36.460 I see.
00:09:37.020 Okay.
00:09:37.840 Yeah, I was just curious because a lot of that stuff around the turn of the 20th to 21st century,
00:09:46.160 it was like I'm trying to think of who is popular and it would have been, I don't know, like Sugar Ray or U2 was sort of, I mean, they were kind of entering a new phase.
00:10:01.640 They were still poppy.
00:10:04.180 But yeah, I think from about 2000, maybe 1997 even, to about, well, maybe even to now, it's just kind of like the music is, it's just boring.
00:10:18.940 I think almost all albums are, almost all albums in that timeframe are pretty dispensable.
00:10:25.800 And I don't know if that's because of how digital everything is, it just comes in, lingers for a few weeks or months and then it's gone.
00:10:34.760 But with this album, I just have to say that I think it's, it's a bit of a transitional album in the sense that they're maturing from these rock stars in their early 30s.
00:10:46.420 Now they're in their 40s.
00:10:48.080 And I think they're at veteran status at this point and they can't and they won't party like they used to.
00:10:56.640 This is kind of like maybe the anti Songs of Faith and Devotion in that sense.
00:11:01.040 And I think this album is only channeling really other electronic music.
00:11:08.640 Like Martin was saying, he was listening to a lot of electronic music.
00:11:11.820 And it seems like an electronic album, like an experimental electronic album that somehow turned out pretty generic and boring.
00:11:19.840 Like I don't find many of the songs, most of them, I don't find, there's nothing sonically interesting.
00:11:27.600 I don't think the songwriting is that good.
00:11:29.420 But I think that's kind of like kind of what you need.
00:11:31.460 You at least need like a good song.
00:11:33.860 I would say it's consistently mediocre with the exception of a song like Goodnight Lovers.
00:11:40.700 I actually do really like that.
00:11:41.780 It's a very classic sounding song with the chord structure, which we can get into.
00:11:47.180 But it seems like when they get to this veteran status, it's like people aren't coming to listen to this album.
00:11:56.820 This was a successful tour for them.
00:11:59.320 But that's because I think a lot of these original fans from the 80s and early 90s are looking at them now and waiting for the black celebration.
00:12:09.560 They're waiting for anything off of Violator, World of My Eyes, whatever it is, and Joy to Silence.
00:12:15.120 And, you know, the final reason, I think, is because their main guy for driving their sound is gone.
00:12:26.860 And there's really no amount of personnel that they can bring in that's going to really bring that back.
00:12:33.120 And I'm talking, of course, about Alan.
00:12:34.740 And I think it's the, yeah, like I said, it's the first album where they can sort of coast off of previous accomplishments.
00:12:43.860 This came after they released a sequel to Catching Up With Depeche Mode, which was, Catching Up With Depeche Mode was reissued as 1980 through 86.
00:12:56.760 And then they had a secondary best of album, 1986 through 1998 or something like that.
00:13:05.920 And I think there's probably a combination of things.
00:13:10.800 Probably some hipsters discovered them for the first time.
00:13:15.040 I would imagine also a lot of their fans were also entering their 40s and had more money and were excited to go to a concert.
00:13:24.420 And that's why the tour was successful.
00:13:26.060 I mean, that was actually mentioned in Stripped, which I reread those chapters, which is a biography, a chronicle of Depeche Mode, really.
00:13:36.380 And that's great and all.
00:13:40.260 And I don't know, there's something, there is something kind of turn of the century and turn of the last century about it in the sense that it's not grunge.
00:13:51.480 It's not nihilism.
00:13:53.280 It came before 9-11.
00:13:55.640 So it's an almost like an end of history album.
00:13:59.680 You could say it was actually released in May of 2001.
00:14:03.740 And it's all about love.
00:14:05.600 And yeah, to be born a lover, you're born to suffer.
00:14:10.460 But that's not really a new sentiment.
00:14:13.280 But there's no edge to it or resistance.
00:14:17.980 There's no issue or struggle that it's needing to solve.
00:14:25.820 And I think the fact that it's all about love and kind of lust or free love, I'm just going to give you love.
00:14:31.300 I want you to get off that, get out of your mediocrity.
00:14:38.100 That actually, to be fair, that actually is a really good line.
00:14:44.740 You've been hanging from a rope of mediocrity.
00:14:47.200 It's a great line.
00:14:48.140 But it's about that and just kind of experiencing pleasure.
00:14:52.660 And I think there's a shallowness to all of that.
00:14:58.760 And that is a kind of sentiment that I would associate with that era.
00:15:03.840 I know this is kind of a funny comparison, but have you ever seen the James Bond movie Die Another Day?
00:15:13.120 I haven't.
00:15:14.060 No, I'm not a huge Bond fan.
00:15:16.260 That's fine.
00:15:16.980 I mean, this is kind of fun.
00:15:18.680 I'm like my two of my many fandoms.
00:15:21.880 I'm connecting here.
00:15:23.320 There's another connection, which is Martin Gore was reportedly asked to write a James Bond theme song, and he declined.
00:15:31.900 So I don't know if he would have done that for The World is Not Enough.
00:15:37.260 They hired Garbage for that one.
00:15:39.760 Who knows?
00:15:40.940 But that would have been interesting, I have to say.
00:15:44.500 Bono and The Edge did one.
00:15:45.820 So they were going to another alternative act of the 80s and 90s.
00:15:50.820 Yeah, Die Another Day, it has all the components of a James Bond movie.
00:15:58.340 It has the most heavy use of CGI of any film.
00:16:02.640 And the whole thing is just kind of fake and shallow.
00:16:07.600 And a Bond girl, you know, played by Halle Berry doesn't die.
00:16:15.060 And they're actually, she lives and she's good and she kicks ass.
00:16:20.580 There's this like fake over-fulfillment, I guess you could say, quality to it.
00:16:27.100 And I feel like that's what's going on with Exciter, where it's almost a like digital quasi-AI generated Depeche Mode album that won't be offensive to anyone in the 2000s.
00:16:43.920 And as opposed to singing about sadomasochism or God being evil or some of their other topics, it's just about love and not even love, just kind of pleasure.
00:16:57.340 And saying that there's some pain with that pleasure, everyone gets broken hearted is a kind of platitude or empty sentiment.
00:17:07.440 And that's how I feel of it.
00:17:09.760 It's like pumped through a computer and produced.
00:17:14.180 And you hear that sonically as well with the album, where, you know, you can hear a little bit of them going towards Delta Machine with the blues.
00:17:25.740 This starts out, it was the Dream On is the first single.
00:17:28.420 It's something like that.
00:17:32.460 And it's like kind of quasi-acoustic, but it's just digital.
00:17:39.660 Like it might as well, it's evoking a kind of blues thing, but then you don't really hear the instrument.
00:17:47.320 They had a number of people come on and perform instrumentally for this.
00:17:54.300 It's Arito Moriera on percussions.
00:18:00.420 I mean, I'm sure he's a famous musician.
00:18:02.440 Christian Eigner, you know, started a long relationship with the band and Dave Gahan in particular is heard on this.
00:18:10.140 You have a better ear for hearing instruments and et cetera than I do.
00:18:16.180 But it just sounds process to me.
00:18:19.420 It's like it doesn't matter that some clearly talented musician came in the studio and added his contribution.
00:18:27.040 There's just no real there there.
00:18:30.620 And even the blues lick doesn't really sound like a blues lick.
00:18:36.540 Yeah, I don't really care for the...
00:18:39.340 And sonically, the entire thing sounds as if you took like an acoustic guitar sample from GarageBand or something.
00:18:47.380 You know what I mean?
00:18:47.780 That's what that guitar opening or rhythm rather and Dream On reminds me of.
00:18:53.860 And I don't want to be too harsh, but I mean, even that opening line on Dream On, you can you feel a little love?
00:19:03.160 I was thinking to myself, I was like, that sounds kind of flat.
00:19:06.460 But so I took it and I sampled it and I put in my keyboard and I took my tuner out of my phone.
00:19:13.380 And sure enough, it is actually that it is it is flat.
00:19:20.020 Yeah, it's like in between E flat and E.
00:19:23.240 And I mean, so it was either flat or sharp, depending on what key they're supposed to be in.
00:19:30.120 But yeah, it just I think that was a bad way to open it.
00:19:34.680 Like, didn't they think that somebody would, you know, I don't know, maybe I'm being like too OCD about it and I don't need to just dissect it and put it under a microscope.
00:19:44.640 But I kind of had to because there was something that felt a little bit off about that, that opening.
00:19:51.340 And yeah, the song is just it's just OK.
00:19:54.960 And he had Martin had writer's block.
00:19:58.120 And I don't know what the cure for it was necessarily or necessarily if there was a cure, because a lot of the songs.
00:20:06.360 There are some good lyrics, like you mentioned in Shine, but there are a lot of just rhymes that don't go well together or there are lines that don't go well together.
00:20:21.060 Like, it's just kind of meh.
00:20:23.480 The whole album is meh.
00:20:24.780 And I don't think I would put this at the bottom, but it's definitely near the bottom.
00:20:29.200 Like, it's, you know, bottom five for sure.
00:20:31.760 But to go back really quickly to what I was talking about, the popular artists at the time, this is how bad music was then and maybe still is.
00:20:42.140 But it was Sugar Ray who had a few one hit wonders that song.
00:20:47.260 I don't know if you remember that from that time that put your arms around me, baby, put your arms around me.
00:20:52.780 I just want to fly.
00:20:54.260 Anyway, NSYNC, White Stripes, Strokes, System of a Down, Smash Mouth, and like Destiny's Child.
00:21:04.960 I think these are all highly forgettable.
00:21:07.900 All around the world statues crumble for me
00:21:22.020 Who knows how long I've loved you
00:21:26.300 Everywhere I go people stop and they say
00:21:31.640 25 years old
00:21:34.360 My mother got dressed so
00:21:36.780 I just want to fly
00:21:40.380 Put your arms around me, baby
00:21:44.020 Put your arms around me, baby
00:21:46.580 I just want to fly
00:21:49.900 They were dominating the charts at the time.
00:21:52.940 So I think, yeah, I think art just in general was just dead.
00:21:58.820 And this would just toss it in there.
00:22:01.600 I don't know that much about Mark Bell because he's the producer.
00:22:07.580 I actually researched him a little more and I listened to some of his music.
00:22:12.560 He sadly died not too long ago in 2014 of medical complications.
00:22:18.900 Mm-hmm.
00:22:19.760 Yeah, I'd heard that.
00:22:21.300 But I had heard like a little bit of what he had done with Bjork.
00:22:25.760 And I'm just, maybe I'm not the biggest Bjork fan, so I can't like fully appreciate it.
00:22:31.360 Probably a bigger Sugar Cubes fan than I am of Bjork.
00:22:35.040 But it was just, yeah, I mean, it's just sterile.
00:22:39.300 A lot of his music or his production on even Bjork's songs seemed a little bit sterile.
00:22:45.440 The songs seemed a little bit thin, is the way that I would put it.
00:22:50.760 Yeah.
00:22:50.980 Or sonically, rather.
00:22:54.240 I listened to some of his music.
00:22:57.460 It's LFO, low frequency oscillator.
00:23:00.940 I mean, he was quite young.
00:23:02.960 I think he was 29, if I'm correct.
00:23:06.360 Yes, he was 29 when he was hired to do this.
00:23:09.420 It strikes me as turn-of-the-century hipster electronic stuff.
00:23:16.900 It just strikes me as a bit like background music and maybe a little bit ironic.
00:23:44.360 Like, he was interested in German minimalism, also what I read, with kind of like clicks.
00:23:49.440 And I, yeah.
00:23:54.700 It, yeah.
00:23:56.620 I mean, it's, again, I, it's, he certainly died too young.
00:24:01.860 He did not do another album with Depeche Mode.
00:24:04.940 And I, I do get a certain sense that they recognized that something went wrong with this one.
00:24:13.640 And they wanted to continue to make albums.
00:24:15.900 I mean, they could have, this could have been their last album, actually.
00:24:20.860 And it wasn't.
00:24:22.360 And they did come back.
00:24:24.420 And I think they definitely adjusted themselves and did a, to a certain degree, a kind of throwback.
00:24:30.920 You know, pain and suffering in multiple tempos with playing the angel and probably consciously just like, let's just go back.
00:24:41.140 Let's go back to a pain that I'm used to, so to speak.
00:24:44.760 And we have to have that edge.
00:24:46.940 And if we're just singing about, you know, America at the end of history and everything's good and, you know, we've got tech bubbles and you can consume anything and the internet's here and so on.
00:25:03.300 I think they recognize that at some point, even their fans would get a little angry.
00:25:10.500 But, I don't know.
00:25:17.240 I mean, I, in terms of songs that are worth talking about, I like a lot.
00:25:27.880 You know, it's funny.
00:25:28.640 I like the last quarter of the album the most.
00:25:32.240 I like the last, the flip side of the second record, actually.
00:25:37.780 And I Am You and Good Night Lovers might be my two favorite numbers.
00:25:46.600 I like certain parts of other songs.
00:25:49.660 I think some songs are kind of at least interesting conceptually.
00:25:54.160 The Dead of Night.
00:25:55.300 It has a lot of, I don't even know if that's like dubstep or whatever, like this kind of like bent note.
00:26:07.240 It's also ironic.
00:26:10.600 They're almost singing.
00:26:12.280 They're singing about people they hate.
00:26:13.800 Maybe they're even singing about some of their own fans.
00:26:15.960 But, we're at the dead of night.
00:26:19.440 We're in the zombie room.
00:26:20.660 We're Twilight's parasites.
00:26:22.220 It's a good line.
00:26:22.900 With self-inflicted wounds.
00:26:25.520 Heavenly oversights.
00:26:27.120 Eating from silver spoons.
00:26:28.720 So, it's, you know, there's a kind of like ironic type of crooning that Dave gets into as well.
00:26:38.260 With our decadent minds and our innocent lines.
00:26:41.540 We're the horniest boys.
00:27:09.140 We're the corniest boys.
00:27:11.300 We take the easiest girls to our sleaziest worlds.
00:27:26.140 With our lecherous plans in our treacherous hands.
00:27:31.440 You'll be wasting your time saying no, it's a crime.
00:27:36.700 All that we live for you'll regret.
00:27:53.360 All you remember will forget.
00:28:02.360 We'll forget.
00:28:05.360 We are the dead of night.
00:28:08.360 We're in the zombie room.
00:28:17.360 We're Twilight's parasites.
00:28:18.360 We're self-inflicted wounds.
00:28:19.360 We are the dead of night.
00:28:20.360 We are the dead of night.
00:28:21.360 We're in the zombie room.
00:28:25.360 We are the dead of night.
00:28:26.360 We are the dead of night.
00:28:27.360 We're in the zombie room.
00:28:31.360 We're in the zombie room.
00:28:33.360 We are the dead of night.
00:28:34.360 We are the dead of night.
00:28:35.360 We are the dead of night.
00:28:36.360 We are the dead of night.
00:28:38.360 You know, is it a great song?
00:28:52.360 song no kind of interesting conceptually i'll i'll give it that um i am you and you or me is
00:29:02.780 more romantic and but again it's that maybe that word that i've chosen like over fulfillment like
00:29:10.080 there's this there's this way where there's no more tension because i am you and you or me i am
00:29:19.020 you or you or me there's no turning back we're in this trap no denying the facts no no no excuses
00:29:24.620 to give i'm the one you're with we've no alternative no no it's this total connection now you could say
00:29:31.180 you know dave dave is still recovering i mean he almost died or i think was dead in fact for maybe
00:29:40.200 a minute or two and we'll get into that when we talk about songs of faith and devotion and ultra
00:29:46.560 so he's recovering um he finds a new wife jennifer she's an american from arizona and he actually
00:29:55.540 said and he said to a reporter he said the author's trip that she didn't even care about tepeche mode
00:30:01.040 you know she probably liked the money to be fair but she didn't care about the band she cared about
00:30:07.760 him he achieved a certain love and and suburban happiness maybe and and certain certainly stability
00:30:18.320 which was completely necessary at that time and that's great um but i just i just find it you know
00:30:29.580 and he didn't write this song martin gore did but i just i just find it limiting when there's no
00:30:36.120 resistance or or tension it's just at the end of the day like we're together there's no alternative
00:30:43.100 i am you and you are me it's a nice sentiment but when i just see this happening throughout the whole
00:30:48.400 album there's no darkness there's no edge there's no irony i just become very disappointed in it all
00:30:56.780 you have found my heart with subtle chains so much pleasure that it feels like pain
00:31:14.500 so entwine so entwined now that we can't shake free
00:31:21.480 i am you and you are me
00:31:26.500 no escaping from the miss weary
00:31:35.480 so much pleasure that it must be seen
00:31:43.040 i must live with this reality
00:31:48.980 i am yours eternally
00:31:55.960 i am yours eternally
00:31:57.960 there's no turning back
00:32:02.100 we're in this trap
00:32:05.540 no denying the facts
00:32:09.220 similarly with um shine which again is a good song i mean i like it it has some good lines
00:32:39.200 it's almost singing about
00:32:43.220 you know
00:32:44.780 what is it
00:32:46.460 a hundred shades of gray or
00:32:48.780 what is
00:32:49.320 what was that about
00:32:50.580 what was the name of that book again
00:32:52.500 90 shades of gray
00:32:53.680 50 shades of gray
00:32:55.040 50 shades okay i was gonna get it at one point
00:32:57.460 uh are there only 50
00:32:59.420 why why did why is that is that number significant i don't know
00:33:02.220 um
00:33:03.120 it's you know put your blindfold on
00:33:06.080 and a dress that's tight
00:33:07.620 and come with me
00:33:08.820 on a mystery night
00:33:10.280 open your eyes
00:33:11.360 um
00:33:14.120 it it's singing about s&m
00:33:16.280 but it's almost like
00:33:17.440 lame s&m
00:33:19.360 something
00:33:19.920 it's like
00:33:20.580 a couple in their suburban home
00:33:22.980 burning candles
00:33:25.580 and
00:33:26.100 pouring wax
00:33:27.360 on themselves
00:33:28.500 or something
00:33:29.160 artisan candles
00:33:31.000 pumpkin spice candles
00:33:32.620 that they're pouring
00:33:33.620 ooh
00:33:34.120 oh
00:33:35.520 put on your blindfold
00:33:38.220 and a dress that's tight
00:33:40.680 and come with me
00:33:42.900 on a mystery night
00:33:45.500 open your eyes
00:33:52.080 follow our stars under a painted sky
00:33:59.380 we'll leave the world behind
00:34:02.220 we're learning to fly
00:34:04.080 yeah
00:34:04.580 we used to get by
00:34:10.380 forget the pictures on your tv screen
00:34:27.580 we're still the visions that you keep for your dreams
00:34:33.580 you can turn me on
00:34:38.240 i was blind and i saw the light
00:34:46.820 my angel coming in a brilliant white eyes
00:34:52.700 shine for me
00:34:55.700 shine for me
00:34:57.700 you've been hanging from a rope of mediocrity
00:35:15.540 strung up by your insecurities
00:35:24.520 you can shine for me
00:35:30.960 somebody has to shine for me
00:35:35.600 it's difficult not to shine for me
00:35:40.240 it's just kind of lame
00:35:46.160 and
00:35:47.160 if you compare it to a song like blue dress
00:35:50.340 put it on
00:35:52.280 you know
00:35:52.980 put it on
00:35:53.680 it's so much simpler
00:35:55.660 it's less complicated
00:35:57.600 it's less
00:35:58.200 it's kind of less refined
00:36:00.060 but thus better
00:36:01.600 and
00:36:03.680 bolder to you
00:36:04.800 yeah
00:36:05.680 and
00:36:06.640 i just
00:36:07.700 the comparison does no favors to their more
00:36:11.220 quote mature work
00:36:12.960 put it on
00:36:20.700 come down and say a word
00:36:25.940 put it on
00:36:28.700 the one that i prefer
00:36:32.500 put it on
00:36:37.100 and stand before my eyes
00:36:41.520 put it on
00:36:44.100 please don't question why
00:36:48.100 can you believe
00:36:52.100 something so simple
00:36:56.260 something so trivial
00:37:00.180 makes me a happy man
00:37:04.920 can't you understand
00:37:08.560 and say
00:37:09.680 just how easy
00:37:15.440 it is to please me
00:37:20.600 because when you learn
00:37:25.740 you know
00:37:26.440 what makes the world
00:37:28.520 turn
00:37:30.020 i would say
00:37:34.860 with the song like
00:37:36.160 dead of night
00:37:36.940 one of the things about it
00:37:38.240 is that
00:37:39.260 that opening
00:37:40.100 like siren sound
00:37:41.280 they just repeat
00:37:42.320 on a pain that i'm used to
00:37:43.860 but i think they actually do it
00:37:45.000 better on
00:37:45.780 a pain that i'm used to
00:37:47.240 on playing the angel
00:37:48.600 that
00:37:49.060 but
00:37:51.140 i mean some of the
00:37:52.920 that's not
00:37:53.820 that's probably a good song
00:37:55.500 live
00:37:56.060 they definitely didn't play it
00:37:57.280 when i saw them
00:37:58.060 i didn't play anything off this
00:38:00.180 album when i saw them
00:38:01.440 but
00:38:02.100 yeah i don't know
00:38:04.420 it's like
00:38:04.920 rocky
00:38:06.200 and
00:38:07.020 it's got a little
00:38:08.780 uh
00:38:09.240 viper room feel to it
00:38:10.940 but
00:38:11.760 again
00:38:13.640 like
00:38:14.480 most of these songs
00:38:15.580 it's just forgettable
00:38:16.460 i think the worst song
00:38:18.320 without a doubt
00:38:19.400 is comatose
00:38:20.300 i hate
00:38:21.040 whatever like
00:38:22.020 over filtered
00:38:23.560 kind of
00:38:24.420 like
00:38:26.060 bass noise
00:38:26.920 that they've
00:38:27.820 sampled
00:38:28.400 or
00:38:28.820 what
00:38:29.800 it's just
00:38:30.340 awful
00:38:31.220 i think that's the worst
00:38:32.420 i don't like the vocal melody
00:38:34.160 i think that should have
00:38:35.260 just entirely been
00:38:36.360 scrapped
00:38:37.480 and i mean maybe it's about like
00:38:39.120 overdose of
00:38:40.680 you know
00:38:42.060 comatose
00:38:42.940 almost
00:38:43.340 but
00:38:43.980 whatever
00:38:44.700 it's not
00:38:45.740 particularly interesting
00:38:47.060 there are other songs
00:38:47.940 he's written about
00:38:48.740 dying that are much
00:38:49.940 much better
00:38:51.080 comatose
00:38:53.880 almost
00:38:55.340 you've got me
00:38:57.520 dreaming
00:39:00.080 this isn't about dying
00:39:02.980 this is like being about
00:39:03.940 being bored to death
00:39:05.300 yeah
00:39:05.700 okay
00:39:06.420 by the sound
00:39:07.180 sure
00:39:07.860 yeah
00:39:08.260 but uh
00:39:10.260 i would agree with you
00:39:11.080 about the last half
00:39:12.660 or the last quarter
00:39:14.060 of the album
00:39:14.660 with songs like
00:39:15.800 breathe
00:39:16.240 breathe i'm you
00:39:17.380 and goodnight lovers
00:39:18.320 i think those are the best
00:39:19.760 songs on there
00:39:21.160 but
00:39:21.420 like i'd mentioned before
00:39:23.380 there's this kind of
00:39:24.680 use that
00:39:25.940 dave has on his voice
00:39:27.500 in i am you
00:39:28.180 with the like
00:39:28.980 it's like a radio effect
00:39:30.660 or whatever
00:39:31.140 it almost sounds like
00:39:32.900 his hand is over his mouth
00:39:34.140 you know
00:39:34.420 that he would have had
00:39:35.480 on um
00:39:36.360 new dress
00:39:37.660 you know
00:39:37.960 with the princess
00:39:38.900 die is wearing
00:39:40.560 that same effect
00:39:41.720 is on there
00:39:42.240 yeah
00:39:42.480 but you would have heard
00:39:43.540 around
00:39:44.540 that turn of the century
00:39:46.500 you would have heard
00:39:47.280 that a lot
00:39:48.080 in
00:39:48.520 that
00:39:49.240 i don't know
00:39:49.880 what effect
00:39:50.720 i guess it's like
00:39:51.300 a radio effect
00:39:52.200 or something
00:39:52.720 you would have heard
00:39:53.940 that on a lot of
00:39:54.940 uh
00:39:55.460 vocal
00:39:55.860 uh
00:39:56.600 a lot of
00:39:58.000 people's vocals
00:39:58.820 at the time
00:39:59.380 but
00:40:00.320 i think easily
00:40:01.440 goodnight lovers
00:40:03.280 is the best song
00:40:04.520 on the album
00:40:05.580 it's very straightforward
00:40:06.880 i think maybe that's
00:40:07.920 what this album
00:40:08.540 is missing
00:40:09.300 it's not very straightforward
00:40:10.440 with the exception of
00:40:11.560 goodnight lovers
00:40:12.660 it's
00:40:13.560 the chords are
00:40:14.400 pretty straightforward
00:40:15.620 with the e to a
00:40:17.040 and then the a
00:40:17.800 going down to
00:40:18.560 a minor
00:40:19.700 which is
00:40:20.320 it's a classic move
00:40:21.780 to go
00:40:22.080 you know
00:40:22.560 from the major four
00:40:23.580 to the minor four
00:40:24.440 it kind of
00:40:26.440 i love though
00:40:28.160 in that song
00:40:28.920 the backing vocals
00:40:30.840 that uh
00:40:31.540 martin does
00:40:32.260 it's almost like
00:40:32.940 a doo-wop song
00:40:34.140 but it's this
00:40:34.900 perfect like
00:40:36.040 soft
00:40:36.960 depeche mode
00:40:38.100 ballad
00:40:38.680 and i think it is
00:40:39.900 actually one of
00:40:40.620 their best songs
00:40:41.280 here
00:40:46.780 somewhere in the heart
00:40:51.900 of me
00:40:52.940 there is still a part
00:40:56.540 of me
00:40:57.800 that cares
00:41:02.200 i'll still take
00:41:09.300 the best
00:41:10.420 you got
00:41:11.900 even though
00:41:13.980 i'm sure
00:41:14.820 it's not
00:41:16.780 the best
00:41:18.200 for me
00:41:19.980 when you're
00:41:22.420 born a lover
00:41:24.420 born to suffer
00:41:28.580 like
00:41:32.600 all
00:41:33.460 sisters
00:41:34.360 and
00:41:35.620 so
00:41:36.140 brothers
00:41:36.980 yeah
00:41:43.220 um
00:41:43.740 to give
00:41:44.320 mark bell
00:41:45.580 a little bit
00:41:46.000 of credit
00:41:46.360 he
00:41:46.760 he suggested
00:41:47.900 that dave
00:41:48.300 sing that
00:41:48.880 like he was
00:41:49.280 singing a lullaby
00:41:50.260 to his
00:41:50.880 new child
00:41:51.620 you know
00:41:51.900 he has a new
00:41:52.300 wife and child
00:41:53.140 he's settling
00:41:53.660 down
00:41:54.020 and you
00:41:54.860 actually at
00:41:55.240 the end
00:41:55.460 of the song
00:41:55.960 the end
00:41:56.220 of the album
00:41:56.660 i guess
00:41:57.020 it's like
00:41:57.380 shh
00:41:57.900 um
00:41:59.020 yeah
00:41:59.240 that's nice
00:42:00.480 yeah
00:42:01.220 but i think
00:42:01.920 we're almost
00:42:02.340 grasping for
00:42:03.200 things
00:42:03.680 like you
00:42:25.640 you had
00:42:26.040 mentioned
00:42:26.320 like the
00:42:27.040 s&m
00:42:27.600 but it
00:42:28.060 sounds
00:42:28.400 like uh
00:42:29.300 in shine
00:42:30.220 like
00:42:30.600 a wife
00:42:31.760 talking to
00:42:32.460 their husband
00:42:32.980 like now
00:42:33.400 if you're
00:42:33.740 good
00:42:34.060 you're gonna
00:42:34.520 get
00:42:34.960 i'm gonna
00:42:35.780 put on the
00:42:36.220 blindfold
00:42:36.640 and blow
00:42:37.160 you know
00:42:37.480 what i mean
00:42:37.720 that's what
00:42:38.160 it feels
00:42:38.540 like
00:42:38.880 exactly
00:42:39.400 and uh
00:42:41.120 i actually
00:42:41.680 think the
00:42:42.160 best song
00:42:43.020 on here
00:42:43.580 is uh
00:42:44.200 or i'm
00:42:44.460 sorry the
00:42:44.800 second best
00:42:45.260 song
00:42:45.620 or third
00:42:46.560 whatever
00:42:46.900 is dirt
00:42:48.220 which is
00:42:48.940 like a b-side
00:42:49.760 which i don't
00:42:50.720 know if you
00:42:51.060 you heard it
00:42:52.000 but it's got
00:42:52.420 this like
00:42:52.820 heavy kind of
00:42:53.740 drum sound
00:42:54.600 and it
00:42:54.920 just sounds
00:42:55.740 like nasty
00:42:56.560 and what
00:42:57.620 kind of
00:42:57.900 reminiscent
00:42:58.280 actually of
00:42:59.000 ultra in
00:42:59.660 the way that
00:43:00.140 they're just
00:43:01.080 kind of sampling
00:43:01.700 these live
00:43:02.320 drums uh
00:43:03.580 and and you
00:43:04.740 know playing
00:43:05.480 over them and
00:43:06.020 like kind of
00:43:06.460 layering them
00:43:07.280 and it's got
00:43:08.440 an edge to it
00:43:09.140 i think that
00:43:09.520 song does
00:43:10.300 have an edge
00:43:10.840 i've been
00:43:31.440 dirt
00:43:32.380 but i mean
00:44:00.020 when the body
00:44:00.680 speaks that
00:44:01.460 there's no
00:44:01.940 edge to
00:44:02.420 that uh
00:44:03.280 no it's
00:44:04.640 kind of an
00:44:05.080 interesting
00:44:05.460 sentiment like
00:44:06.680 the you know
00:44:07.300 it's it's
00:44:09.700 not about your
00:44:10.280 mind or really
00:44:11.320 it's like the
00:44:11.840 body's i guess
00:44:14.160 closer to your
00:44:14.820 soul and uh
00:44:16.000 in martin's
00:44:16.660 imagination um
00:44:18.660 it's an
00:44:19.660 interesting sentiment
00:44:20.580 but i don't
00:44:22.020 you know it
00:44:23.100 doesn't really
00:44:24.100 go anywhere
00:44:26.060 um i breathe
00:44:28.500 has some
00:44:29.140 it has kind
00:44:30.860 of an
00:44:31.080 interesting
00:44:31.600 catch you
00:44:32.500 know catch
00:44:33.080 to it
00:44:33.400 he's he's
00:44:34.340 singing about
00:44:34.880 you know i
00:44:35.200 heard it on
00:44:35.780 monday and i
00:44:36.780 laughed a while
00:44:37.720 i heard it on
00:44:38.520 tuesday i managed
00:44:39.940 to smile so
00:44:40.740 they're doing that
00:44:41.520 bluesy thing and
00:44:43.040 then he flips over
00:44:43.940 to i heard it
00:44:44.860 from peter who
00:44:46.120 heard it from
00:44:46.720 paul who heard
00:44:47.900 it from someone
00:44:48.680 i don't know
00:44:49.580 at all and so
00:44:50.440 he's he's naming
00:44:51.320 biblical names
00:44:52.400 who swore in the
00:44:53.580 bible that it
00:44:54.320 wasn't the truth
00:44:55.140 or something like
00:44:55.820 that it's it's
00:44:57.380 good it's catchy
00:44:58.420 it's clever
00:44:59.800 i heard it
00:45:05.140 from peter
00:45:06.140 who heard it
00:45:08.840 from paul
00:45:10.140 who heard it
00:45:12.560 from someone
00:45:13.580 i don't know
00:45:16.360 at all
00:45:17.500 i heard it
00:45:19.960 from mary
00:45:20.920 who heard it
00:45:23.640 from ruth
00:45:25.220 who swore on
00:45:27.400 the bible
00:45:28.160 she's telling
00:45:30.880 the truth
00:45:31.880 i heard it
00:45:34.720 from simon
00:45:36.000 who heard it
00:45:38.420 from james
00:45:40.480 confirming with
00:45:41.860 confirming with
00:45:42.440 sarah
00:45:43.360 that i was to
00:45:46.040 blame
00:45:46.760 i heard it
00:45:49.480 from joseph
00:45:50.200 who heard it
00:45:53.200 from john
00:45:54.200 who said with
00:45:56.860 conviction
00:45:57.700 that all was
00:46:00.840 gone
00:46:02.020 so i need to
00:46:04.500 know
00:46:05.560 your alibis
00:46:10.360 i need to
00:46:11.980 hear
00:46:12.840 that you
00:46:13.840 love me
00:46:16.220 before you
00:46:17.980 say goodbye
00:46:19.560 i was thinking
00:46:31.520 about this
00:46:32.140 that the song
00:46:33.340 breathe is a
00:46:34.540 more refined
00:46:35.520 mature
00:46:36.880 complicated
00:46:38.680 you could say
00:46:39.880 version of
00:46:42.100 i heard it
00:46:42.760 from my friends
00:46:43.600 about the
00:46:44.260 things you
00:46:45.020 said
00:46:45.420 and
00:46:46.940 that from
00:46:48.740 music for the
00:46:49.360 masses
00:46:49.660 and i heard it
00:46:51.340 from my friends
00:46:51.920 about the things
00:46:52.460 you said
00:46:52.960 that's like a
00:46:54.300 sentiment out of
00:46:55.060 high school
00:46:55.660 you could say
00:46:56.420 you know a
00:46:57.800 gossip rumor
00:46:58.740 etc
00:46:59.160 but the way
00:47:01.260 that it stripped
00:47:02.080 down the
00:47:03.020 baseline
00:47:03.860 martin himself
00:47:05.480 singing it
00:47:06.340 just everything
00:47:08.200 about it is
00:47:09.080 cool and
00:47:10.220 interesting
00:47:10.860 and great
00:47:12.600 and i think
00:47:14.580 that's an
00:47:15.000 indispensable
00:47:15.600 song in
00:47:16.720 their body
00:47:18.140 of work
00:47:18.560 actually it's
00:47:19.460 classic
00:47:20.160 and it gets
00:47:21.920 at something
00:47:22.420 it's highly
00:47:23.080 memorable i've
00:47:23.900 listened to it
00:47:24.340 a thousand
00:47:24.660 times and
00:47:26.740 it evokes
00:47:27.580 something even
00:47:28.400 if the
00:47:28.960 sentiment is
00:47:29.740 rather juvenile
00:47:30.840 i heard it
00:47:49.060 from my friends
00:47:50.240 about the
00:47:51.220 things you
00:47:52.220 said
00:47:54.000 breathe it's
00:48:14.700 more refined
00:48:15.580 and complicated
00:48:16.300 and clever
00:48:17.100 and somehow
00:48:18.580 less interesting
00:48:19.560 yeah
00:48:21.180 because it's
00:48:22.320 just doing
00:48:22.720 too much
00:48:23.220 his wheelhouse
00:48:24.040 are those
00:48:24.980 simple chords
00:48:26.060 but then the
00:48:27.220 one or
00:48:27.900 maybe two of
00:48:28.940 them in the
00:48:29.380 progression are
00:48:30.000 just so off
00:48:31.880 sounding or so
00:48:32.600 they give you a
00:48:34.080 jolt you know
00:48:35.120 to surprise you
00:48:36.060 especially like i
00:48:36.880 said with those
00:48:37.480 chromatic medians
00:48:38.720 that he's using
00:48:39.760 but like this
00:48:40.680 song is like
00:48:42.300 he uses like
00:48:43.360 this what like
00:48:44.420 e-augmented or
00:48:45.400 something it's
00:48:45.820 just not okay
00:48:47.740 like i don't
00:48:48.280 know i think
00:48:49.840 when it's simple
00:48:51.780 and bold that's
00:48:52.880 the best
00:48:53.500 depeche mode
00:48:54.400 yeah and
00:48:56.100 yes obviously
00:48:56.920 yeah simple
00:48:58.440 bold dark
00:48:59.420 you know one
00:49:00.640 or two surprises
00:49:01.440 but you don't
00:49:01.980 need it to be
00:49:03.280 overproduced or
00:49:04.860 over refined
00:49:05.620 and it is almost
00:49:07.540 like a 40 year
00:49:08.380 old going back
00:49:09.240 to a song he
00:49:10.060 wrote when he
00:49:10.520 was 26 or
00:49:11.780 something and
00:49:12.980 kind of rewriting
00:49:14.240 it but it's
00:49:15.940 again it's just
00:49:16.680 not better and
00:49:18.600 i think that's
00:49:19.460 kind of remarkable
00:49:20.200 like you've got
00:49:21.100 to move forward
00:49:21.740 you've got to go
00:49:22.360 somewhere this
00:49:23.220 almost makes me
00:49:23.900 appreciate delta
00:49:24.880 machine to be
00:49:25.600 honest because at
00:49:27.280 least they were
00:49:27.780 trying still hard
00:49:30.080 to appreciate it
00:49:30.900 but they were
00:49:31.940 trying something
00:49:33.040 interesting which
00:49:34.480 is americana
00:49:35.400 blues that is
00:49:37.360 more interesting
00:49:38.280 than digital
00:49:39.280 soft rock
00:49:40.220 from the year
00:49:40.720 2001
00:49:41.440 yes i would
00:49:43.620 agree yeah
00:49:44.740 that kind of
00:49:45.280 like industrial
00:49:45.900 blues synth
00:49:47.300 whatever versus
00:49:48.680 yeah yeah
00:49:49.600 yeah this album
00:49:51.460 is just boring
00:49:53.040 and just forgettable
00:49:54.620 but it's not
00:49:55.840 exciting that's the
00:49:56.820 title there's some
00:49:57.660 things in here like
00:49:58.560 comatose is like an
00:49:59.780 ironic title it's
00:50:00.820 almost cringe like
00:50:01.820 it's making you
00:50:02.880 comatose exciter
00:50:04.400 they're evoking
00:50:05.420 violator no doubt
00:50:07.240 you know it's
00:50:07.680 like let's redo
00:50:08.340 violator for the
00:50:09.740 21st century and
00:50:11.180 they produce this
00:50:12.040 violator is
00:50:13.220 incredible album
00:50:14.040 the the title
00:50:15.520 itself is pretty
00:50:16.860 badass i mean they
00:50:17.740 were as they said
00:50:18.800 explicitly they
00:50:19.580 wanted it to be a
00:50:20.460 heavy metal album
00:50:21.320 and violation it
00:50:23.480 sounds like rape
00:50:24.940 or something bad
00:50:26.940 you know it's it
00:50:27.900 it's it's great
00:50:29.420 um exciter is kind
00:50:31.580 of lame it's like
00:50:32.340 this is it's not
00:50:33.320 exciting it's their
00:50:34.180 least exciting album
00:50:35.300 why didn't they
00:50:36.200 not realize that
00:50:37.320 you know maybe
00:50:38.820 even like ballads
00:50:41.920 of love and
00:50:43.560 suburban bliss or
00:50:44.680 something like a
00:50:45.440 tape on the songs
00:50:46.320 of faith and
00:50:46.860 devotion would have
00:50:47.560 been better like
00:50:48.420 it would have just
00:50:48.980 been more honest
00:50:49.880 like you know
00:50:51.740 overheard at a
00:50:52.920 mall like
00:50:53.680 mall music
00:50:55.260 something that
00:50:56.080 would almost be
00:50:56.780 better and more
00:50:57.820 authentic than
00:50:58.540 calling this exciter
00:50:59.600 when it's not that
00:51:00.260 exciting
00:51:00.680 yeah and i just
00:51:04.100 the name exciter
00:51:05.120 sounds pretty like
00:51:06.280 gay like yeah
00:51:08.020 it's just it's
00:51:09.140 not oh this is
00:51:10.080 exciting like i
00:51:11.540 don't know it's
00:51:12.020 just yeah i don't
00:51:13.840 really i don't
00:51:14.900 really think anything
00:51:15.560 about this is
00:51:16.180 exciting and uh as
00:51:18.920 i'd mentioned
00:51:19.440 before easily in
00:51:21.580 my opinion the
00:51:22.740 worst cover that
00:51:24.000 at least anton
00:51:25.120 has done i it
00:51:27.600 looks like a botany
00:51:28.480 textbook cover
00:51:29.580 correct like i
00:51:30.820 could see it's
00:51:31.660 a you know
00:51:32.180 ninth edition
00:51:33.100 you know
00:51:33.780 whatever uh
00:51:34.900 it's the
00:51:36.540 textbook company
00:51:37.400 whatever
00:51:37.780 yeah
00:51:38.720 scholastic or
00:51:40.120 whatever
00:51:40.440 yeah scholastic
00:51:41.340 yeah and
00:51:42.380 it's just
00:51:42.880 you know i
00:51:44.360 guess the idea
00:51:45.240 was they wanted
00:51:45.900 to get away
00:51:46.480 from so many
00:51:47.100 black album
00:51:47.860 covers that's
00:51:49.040 fair but
00:51:50.000 there's still
00:51:51.180 like a black
00:51:51.760 background on
00:51:52.580 this agave
00:51:53.520 plan or whatever
00:51:54.360 it is it's
00:51:54.920 still it's just
00:51:55.580 not this
00:51:57.800 like fletch
00:51:59.280 says it looks
00:51:59.940 phallic or
00:52:00.900 that was the
00:52:02.260 point but it
00:52:03.100 doesn't i mean
00:52:03.920 this doesn't look
00:52:04.600 sexy i
00:52:05.360 okay i would
00:52:07.200 if the music
00:52:08.600 was good i
00:52:09.260 think this album
00:52:09.940 cover could be
00:52:10.700 interesting i
00:52:11.520 don't think it's
00:52:12.160 the worst i
00:52:13.060 totally agree with
00:52:14.100 what you're saying
00:52:14.800 it is like a
00:52:16.140 textbook in the
00:52:17.120 but i think that's
00:52:17.720 what it's going
00:52:18.320 for and it is
00:52:20.640 fairly provocative
00:52:21.880 and interesting
00:52:22.940 um the font
00:52:25.040 used is
00:52:26.280 fairly cool
00:52:27.600 um i'm not
00:52:30.560 if the album
00:52:32.140 was great i
00:52:32.960 would defend
00:52:33.420 the cover
00:52:33.880 let's put it
00:52:34.820 that way
00:52:35.260 i'm not as
00:52:36.140 i'm not as a
00:52:37.020 down on it i
00:52:38.160 guess as you
00:52:38.600 are but you
00:52:39.080 know
00:52:39.220 if you've been
00:52:50.220 hiding from
00:52:51.040 love
00:52:52.000 if you've been
00:52:54.880 hiding from
00:52:55.680 love
00:52:56.600 i can understand
00:52:58.440 where you're
00:52:59.520 coming from
00:53:00.620 i can understand
00:53:03.120 where you're
00:53:04.180 coming from
00:53:05.360 if you've
00:53:08.840 suffered enough
00:53:10.200 if you've
00:53:13.540 suffered enough
00:53:15.000 i can understand
00:53:17.420 what you're
00:53:18.120 thinking of
00:53:19.320 i can see the
00:53:21.620 pain that you're
00:53:22.780 frightened of
00:53:24.040 i'm only here
00:53:26.760 to bring you
00:53:30.480 freedom
00:53:31.400 let's make it
00:53:35.300 clear
00:53:35.940 that this is
00:53:39.920 freedom
00:53:40.880 no hidden
00:53:44.300 catch
00:53:45.120 no strings
00:53:46.700 attached
00:53:47.520 just freedom
00:53:49.980 no hidden
00:53:53.580 catch
00:53:54.440 no strings
00:53:56.020 attached
00:53:56.820 just freedom
00:53:59.280 i've been
00:54:04.760 running like
00:54:05.680 you