i need to scream about kissco starting with aperture and ending with carla’s song
take no prisioners for me, im told you’re elevating
the album begins with a plea: hold on tight to our goal and face it head-on; be aggressive - don’t let anything else matter but us. im told (either by you or someone else) you’re making improvement, that you’re giving it more importance.
drinks go straight to my knees, im sold, im going on clean
im the meantime, im getting drunk to cope with the wait. my body can’t take it any more. “im convinced: im going to give up drinking” (sarcastically imo)
i’ve no more tricks up my sleeve, game called “review the player”, time codes and tokyo scenes, bad boys it’s complicated
i’ve run out of plans and ideas; i pass the time by thinking through all the possible options and analysing all the decisions i’ve already made. time keeps passing; we keep moving.
it’s best you know what you don’t, aperture lets the light in, we belong together it finally appears it’s only love
let’s stop wasting time, let’s find out what would ‘happen if’. open up, let the light in. let them see who you really are (remember lights up? he uses the ‘light’ to say what others see of you). we’re made for each other; all they’ll see is love
in no good state to receive, go forth, ask questions later
“go forth” as in “go away” or as in “keep going”? is it “go away now, ask me what’s wrong later, i can’t take questions now” or “we’re not in a place where we can keep questioning. keep going, ask later”? probably both
trap doors, you’re toying with me, dance halls, another cadence
we’re stuck in a cycle where we argue and then make up. we’re right in the middle of the dance, so we carry on dancing to the same melody, again.
i won’t stray from it, i don’t know these spaces, time won’t wait on me, i wanna know what safe is
for me, this is a plea, a desperate plea for someone else to take action. i won’t lose sight from our goal; i don’t understand these times either. time will carry on regardless; i want to know what it feels like to be safe
the intro and outro of the song are on a loop, as well as the music video. it begins with the scene of the telephone and the receptionist’s bell (= he’s waiting for a response). the camera focuses on the whisky and we see him head out onto the terrace. he goes out to look for [that answer]. he’s chased by someone he confronts, but ends up dancing with. we see them running, falling, crashing into a vending machine. they keep running, but whilst dancing. they even go the length of a whole corridor doing stunts, before returning to where the encounter began: on the escalators, going up, yes, but on automatic. (we are not doing anything, but time passes anyway).
i think that other person in the video is actually his mind. the call (reply) he’s waiting for is from louis. the song is about wanting to avoid drinking when he thinks about that, and we see that in the video, when he puts the whisky down and goes upstairs (i.e. his mind). we see someone chasing him, and although it eventually ‘becomes friendly’, it never stops chasing him. i think the fact that the video ends with both doing pirouettes in a narrow corridor until the whole sequence repeats itself says it all.
wikipedia: carla is the feminized version of carl, carlos or charles, from ceorl in old english, which means “free man”.
there is a bridge that leads to troubled water, if you know, then you know if you don’t, then you don’t, that’s heavenly
there is a connection that leads to problematic situations. it’s interesting how he uses the word ‘heavenly’ here, given that he’s talking about a bridge (another term often used to describe religious concepts). that connection is heavenly, even though it leads into troubled waters. does he say ‘iykyk’ himself? or is it something he hears and adds ‘that’s heavenly’? (otb and church tatttoo?)
from your head to your toes, saw the light in the gold that you discovered
through your eyes, in awe, melodies like a tide
you found something valuable (us, the connection, our relationship) which reflects its light back to every piece of you. in your perspective, our words, our melodies (patterns, after all) are a force that rises and falls, that recedes and returns.
also: i was stumbling looking in the dark / and i’ll be your light / it was there i saw it in your eyes came to my mind
it’s all waitin’ there for you, can you hear that voice deliverin’ the news? it’s all waitin’ there for you
im waiting there for you (satellite reference). to me the ‘voice’ refers to him; it’s saying that he’s always announcing that he’s always waiting for him.
a little interesting detail that caught my eye: in the lyrics video, this part is all in capital letters, whereas the rest isn’t. the only other song that has a part in capital letters is dance no more. i don’t know if it means anything, but 👀
call it what you wanna
you’ve been a baby sleepin’ upon a candy bar ‘til your eyes open on the changin’ summer light
call it what you wanna reminds me of ready steady go. the first time i heard it, i thought he said ‘but you called it love’, until i read the lyrics. i still think there’s a deliberate intention behind the choice of the name ‘leon’ to create that confusion. call it what you wanna, our relationship, the waiting, the problems. it doesn’t matter what you call it anyway, because you’re not listening to what im saying: everything’s all ready, waiting, for you.
you were numb, sedated, clinging to things that brought you a little satisfaction with no real meaning or value. and the cyclical bit: because it seems that he only shows up when things get better, when there’s ‘summer light’.
i know what you like, i know what you’ll really like, i know what you like, you can hear it anytime, i know what you like, i know what you’ll really like, i know what you like, i don’t have to read your mind
i don’t have to drive myself mad thinking of what you like or will like because if i didn’t know, we wouldn’t be here. we wouldn’t have got this far if you didn’t really want this, which is why im insisting, because i know you’d like it.
i find it incredible that the album opens with a plea “take no prisoners for me” and closes with a very bold statement “i know what you like, you can hear it anytime”. it goes from begging “take risks for me” to ending with “im sure you love me (in the present tense, here and now, you love me today, at this very moment), so you can listen to what i have to say about it over and over again; we’re going to keep having this conversation because, even though we’re not quite on the right track, you still love me.”
and that ‘you can hear it anytime’ is also cyclical because that’s aperture. “it’s best to know what you don’t, aperture let’s the light in we belong together it finally appears its only love” is what he tells him every time they have this conversation about what they want and what they’re going to do.
and if you put the album on loop, you’ll hear “i know what you like, you can hear it anytime, take no prisoners for me”, giving the impression that it’s harry saying what he wants: take the risk.
the first song is called fucking aperture and the last one is “free man’s song” basically!!!!! he’s screaming freedom is the answer and until we are, this cycle is going to keep happening over and over and over again
