Awful lyrics
Let me say, first of all, I feel terrible about not blogging for two and a half months. It’s been eating me up on the inside.
Just kidding. I was getting married and stuff has been taking off with my band and I just started a new job and, quite frankly, this just has not been a priority. Sorry to all of my dear reader.
And now I come back and it’s not even something directly political I’m writing about. Sorry. Eat me.
I have, for some time, felt guilty about downloading stuff for free when it’s for sale. It may even predate the scolding I received from a G.I. Joe character. But I may have found away to justify it, or at the very least, partially alleviate my guilt.
Last week, I saw System of a Down (with The Mars Volta) at Continental Airlines Arena. Overall, it was a cool show – I could gripe in detail about the sound guy for TMV making the shaker louder than the bass, which is to say both were unnoticeable. (For anyone who’s heard their stuff and knows how challenging their song structure can be for listeners, imagine it without any anchor.) I also would’ve liked to have heard SOAD’s drummer’s cymbals. Can it really be that difficult to turn a few knobs? Suffice it to say I maintain my objection to seeing shows at large venues, although I did get roped into Weezer/Foo Fighers next month. But I digress.
While I really enjoy SOAD and thought the show was really cool, I’ve always had a gripe with their lyrics. In fact there are a number of bands/artists who I really dig musically and even enjoy their lyrical sentiment but find the lack of tastefulness appalling. I recognize that not everybody squirts out of the womb with They Might Be Giants’ sensibilities, and even TMBG isn’t always “on.” But would it hurt bands to compose a second draft now and again?
Maybe a better example of this is Incubus -- I was listening to Make Yourself recently and a few lines struck me as cringe-worthy. Now there’s plenty that makes me uncomfortable about the clichés that Brandon Boyd slings around, but here’s something particularly painful:
“And it feels like a matador is taunting me with his reddest red cloth. And I am the bull”
Call me the imbecile that Boyd is trading brains with on this song… but how necessary is it to say “I am the bull.” Didn’t this guy study similes in sixth grade like the rest of us? If a matador is taunting you with a red cloth, what are you? A mud-brick hut? A lotus blossom? Pauly Shore? No, you’re a bull. No description necessary. Why not say, “I’m driving into a brick wall. And I’m in a car.” Or how about, “I’ve got my finger on the button. And I’m the president.” Note: when you have a metaphor or simile that is so common that it’s cliché, it really doesn’t need further explanation. It just makes you seem like you need words to throw in so you can hear yourself sing some more.
Here’s another great thing I heard listening to that album:
“Meet me in outer space/We could spend the night/watch the Earth come up.”Could you do that, really? Could you watch the Earth come up, the way you can watch the sunrise or the moon do the same? Just floating somewhere out in space? That’s funny, I’m some silly! I was under the impression that those things happen because Earth is rotating – so from here, everything looks like it’s rising and setting. Thus, if you were chilling in outer space, Earth would just kind of sit there, unless you were on another planet. But no, you’re supposed to be floating in outer space. Because that’s what you need to do to understand what it’s like for the narrative voice to fuck you. See, I explained it in case you couldn’t figure out what the phrase “how it feels to be inside you” actually meant. And I can understand your confusion, because ordinarily when someone says something like that, I immediately think of the movie Innerspace. But I can’t imagine why Boyd what write a song about that.
The most frustrating thing is that Boyd’s sentiments are often really nice, and some of lyrics do draw you in. But once you’re in, you feel like you’ve wasted your time. Here’s what I mean, fro “Wish You Were Hear”:
“The ocean looks like a thousand diamonds/Strewn across a blue blanket”This is actually a very nice sentiment and I think it’s one of Boyd’s better lines. Now try matching it up against the lines in the same place of the next verse:
“The sky resembles a backlit canopy/With holes punched in it”First of all, for me the vocal delivery exaggerates the line’s retarded nature. Even still, is there a nicer way of saying “holes punched in it”? From a purely aesthetic point of view, it like getting jerked off with a pair of pliers. And I am the penis.
But beyond that, what’s he saying? The sky resembles that really cheap, homemade science fair-type recreation of the sky. The line conjures images of a big dipper poked out of black construction paper with a desk lamp behind it.
Let’s give this more consideration than it winds up deserving: what if that’s what Boyd’s trying to say – the sky is so pretty that it seems cheesily fake. For a time I wanted to believe that this song was an ambiguous and subtle stab at the person he says he wishes was there: everything’s so beautiful and “in this moment [he is] happy” – he’s realizing that he’s glad “you” aren’t with him. The “wish you were here” is sarcasm. Or, taking it to another level, he’s seeing through some artifice of natural beauty with some level of clarity that “your” absence has brought him.
In my opinion, if that’s what he were trying to say, and were being so subtle and artful about it, it would be a great lyric. Unfortunately, there’s nothing else anywhere in the lyrics to suggest that. It seems most likely that Boyd was just saying, “Dear woman, everything’s cool, I miss you, love me.” Not only does it lack the depth for which I’d hoped to give him credit, but that “holes punched in it” line just seems like an exercise in laziness. Boyd succeeds in getting across the sentiment “happy.” Congrats.
Meanwhile, back to the band that spurred this thought process today, SOAD. I just read on a band bio some of Serj’s thoughts on lyrics: “It comes FROM the universe. It comes THROUGH us. When I write something, I think I know what I’m saying, but I never pretend to know the full meaning of the words.”
Well, Serj, I have a news flash for you: John Donne had a really good sense of the “full meaning of the words.” William Shakespeare, too. You can’t predict how words will affect a listener or their possible interpretations, but words have meanings. Sometimes lots of meanings, sometimes the meanings change. But I hope you’re at least trying to know the full meaning.
In the same bio, the bassist says, “It’s time for the bands these kids are listening to to deliver something deeper than just ‘let’s party.’” Let’s see if they succeed.
“Fuck the system/... I need to fuck the system/We all need to fuck the system”
“Fuck you pig”
“I'm saying fuck you and fuck the norm like that”
“Everybody, everybody, everybody fucks”
“Fuck you, it all goes away”
“We don't give a fuck about your world”
“Where the fuck are you?”
Well, “fuck” is at least one word for which Serj clearly does understand multiple meanings.
Here’s a lyric from “Psycho” that always twists the knife, even at the awesome show last night:
“So you want to see the show/you really don't have to be a ho”Maybe it’s the delivery of the line, the awkward Armenian-accented melodic white guy interpretation version of “ho.” I’m reticent about putting too much time into interpretations of this song since it’s obviously mimicking the crazified state of some ho groupie on coke, and it’s great in terms of tone. Still, it’s the only line that gives any sort of form to the narrator given the second-person style. Everywhere else, the lyrics just describe what coke has done to the ho or what the ho is going through: “Makes you high, makes you hide, makes you really want to go, STOP”; “do you really want to think and stop, stop your eyes from flowing out”; “So you want the world to stop.” Why, then, this single piece of advice for the ho? Why not, say, recommend not being psycho cocaine crazy? Is the driving point of this song really that you can be fine getting high at a show to the point of it making you totally crazy and stalking the band – just don’t try to fuck them, like a ho? Ho, ho, ho! Hopefully my repeated awkward use of the word “ho” will give you some idea of the sensation that occurs every time I hear this song.
Changing gears a bit: I’ve always wondered why most modern lyricists, the most popular kinds of poets the world has ever known, don’t every try to make a unified philosophical point. Sure, you can shout the sorts of hackneyed slogans one expects at a protest (“This is what democracy looks like!” “Make love not war!” “Hell no, we won’t go!” “Whattawe want? Some shit! When do we want it? Now!”), but this is because you have to boil down your words into something unifying and catchy. “The workers control the means of production” is just too wordy to chant and even amongst socialists you probably won’t gain much traction forcing that one.
So why, when you have a longer-form verse and you’re politically active, wouldn’t you try to put together some sort of treatise to express how you feel? Well, Serj does some sloganeering (see the “fuck” section above), but it seems he also try to spell out a longer chain of thoughts too. Take “Science” for example:
Science fails to recognise the single mostI fully admit that the last part, the chorus, is fun to scream along with and immediately attracted me to the song. Working in scientific publishing, I come across papers all the time that, for example, present evidence contrary to widely held false assumptions. I see examples of experts in their fields vehemently disagreeing with one another, or sabotaging other peoples’ work in order to better their own prospects (or for straight-up political motivations). And in my personal life, I’ve had swaggering doctors insist I had one kind of ailment and that (for a price) they had the best treatment – then another doctor claim I had another kind of ailment for which they were the experts at treating. When you start making personal medical decisions based on who’s the better salesman, you start to question science in a major way. How much of what we accept as fact came to be because of persuasive salesman more than some abstract deductive reasoning process that isn’t even consistent from person to person?
potent element of human existence
letting the reigns go to the unfolding
is faith, faith, faith, faith
Science has failed our world
science has failed our mother earth
Spirit moves through all things
In other words, I’m ripe for the kind of argument Serj seems to be making by staging science and faith at loggerheads. It’s about reason versus faith, perhaps echoed in the modern political argument between organized religion and science.
But what is Serj saying? Science ignores faith? That’s not true at all, especially nowadays. A tip of the iceberg: in the last ten years, there have been so many science-based studies about whether prayer helps heal the sick. The debates on abortion and euthanasia and stem-cell research is focused on the line between science and belief: when is something alive? Is creating life to destroy it to save lives a net gain or a moral monstrosity? I read an article about whether fetuses can feel pain, and the implications of all the research are obvious attempts to clarify the sorts of issues that scientists are still vague on – it’s an admission, in the face of pressure from people of faith, that scientific ideas on these area are far from demonstrative unquestionable proof. And in the “Intelligent Design” school of thought, the faithful have even borrowed the rhetoric and processes of scientific rigor and reasoning.
In the end, you realize, this is no argument. “Science has failed” is just another way of saying “fuck the system” – they’re just getting more specific about which system they mean.
It’s a shame, because they too have some songs and sentiments and lyrics that I really like – Prison Song is a great example. The idea that the “War on Drugs” has grown so out of control that it’s like “they” are building a new prison system to incarcerate all of us. And I like the way the “factoids” are inserted into the end of each verse and the bridge. Serj’s flow there, whether you like it or not, is definitely an interesting experiment. Still, it does suffer from a lack of subtlety in parts:
“All research and successful drug policy show/That treatment should be increased/And law enforcement decreased/While abolishing mandatory minimum sentences.”It doesn’t get any more blunt than that. But could it really be that “all successful policy” shows that? Could even the conservatives led by Bush (of “Why don’t presidents fight the war?/Why do they always send the poor?” fame) maintain a policy which every shred of scientific evidence says is false? Well, the only explanation would be faith… It’s possible that Serj is succumbing to the shortcomings that all sloganeering ideologues run into.
Maybe I’m asking too much from yelly staples of the angry young American Pop Left. Still, I can’t help but feeling that after drawing me in with their music, too often bands like these leave me feeling empty. So I think I’m going to continue trying it before I buy it anyway, and if the lyrics fail to meet some basic minimum standards, I reserve the right to punish the record companies for it. Seems to me that going to a show is a better way to get money directly into a band’s pockets anyway.
Am I being too harsh? As Eminem said,
"Who woulda thought... That I would catapult to the fore-front of rap like this?
How can I predict my words would have an impact like this?"
I'd love your feedback. Respond and let me know your least favorite lyric, the line that makes you cringe every time you force yourself to hear it.

