Katie Coyle - Raindrops, Caffeine and Other Liquid Stimulants - Help choose Katie's new single.... - Roleplay

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Katie Coyle - Raindrops, Caffeine and Other Liquid Stimulants - Help choose Katie's new single....

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genocidal king		#1 Posted : 01 June 2011 05:46:43(UTC)
Rank: Advanced Member Groups: Moderators, Registered Joined: 21/07/2009(UTC) Posts: 54,407 Location: Leeds, England Thanks: 3469 times Was thanked: 11549 time(s) in 5886 post(s)		OOC: So I'm done. I never realised when I said I'd try this, just how hard it'd be, but I finished it. One full album with full lyrics, full descriptions, and everything. It is 15,060 words in total, which is longer than my dissertation. All comments readily accepted, and I hope it's a good read overall :) Album Title: Raindrops, Caffeine, and Other Liquid Stimulants Genre: Folk/indie/pop Recorded: Abbey Road Studios, London, UK Release: May 19th 2011 Produced by: Katie Coyle, Abbey Road Label: Studio60 Records Tracklisting (updated daily) 1. It's Only My Eyes (3:58) 2. Lust and Cigarettes (feat Scott Armstrong) (4:16) 3. Breakthrough (feat Will.Rocca) (3:46) 4. Sunrise In Suburbia (feat Jack Straw) (3:16) 5. Intravenous (feat Jenny Hudson) (5:58) 6. Naked on Paper (feat Eric Quillington) (4:11) 7. Invanity (feat Eric Quillington) (6:11) 8. Shattered Dreams (feat Jack Straw) (3:12) 9. Fade Away (feat Jenny Hudson) (3:48) 10. Less than 3 (<3) (feat Scott Armstrong) (4:29) Personnel Katie Coyle: Vocals and guitar Eric Quillington: Guitar Will.Rocca: Guitar Scott Armstrong: Guitar Jenny Hudson: Vocals and Guitar Jack Straw: Guitar Edited by user 02 June 2011 05:21:24(UTC) \| Reason: Not specified


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genocidal king		#2 Posted : 01 June 2011 05:47:37(UTC)
Rank: Advanced Member Groups: Moderators, Registered Joined: 21/07/2009(UTC) Posts: 54,407 Location: Leeds, England Thanks: 3469 times Was thanked: 11549 time(s) in 5886 post(s)		1. It's Only My Eyes (3:58) Katie's comments There was a few schools of thought on this song when we sat down to arrange the album. Most people will have heard the song before, because it was the debut single which I first brought out in November and it charted quite highly. When we first talked about the album, this wasn't going to make the cut at all. To a few of the people around the table, and perhaps even me, to an extent, the song was weaker than the rest of the material that I had started to write. However, when I started to think of it like a story, it seemed appropriate to have this one back in again at the start, as a, sort of, "Well world, this was where it all began for Katie!" you know? So, the decision at that point was to re-record it, but then when the incident where I lost the use of my arm occurred, I was keen to keep the original recording on the album. The reason being that, although it may have sounded better recorded in better surroundings, we'd have had to use a guest guitarist. The way it is now, the original recording, means that there is still a song on my debut album with my guitar playing in it, and that means a lot to me. I also think it sounds cool, when you take the story and progression themes into account, how much more raw and rough and ready this sounds compared to all the other, higher quality recordings. It was also the first thing I ever wrote, by myself, for acoustic guitar, having been taught electric guitar, and getting used to finger picking had taken a while! I'm not even sure I like the lyrics now! The song itself, is about a boy. Which, after the last month or so, is just so gorgeously ironic. I was 15, and this boy at school told me that he loved me. At the time, I knew that he didn't, and for some reason (which I figured out a short time later), I had never felt that in touch with him. This song documents the break up of that relationship, and how I had to pretend to be upset when he finally realised the truth and finished it with me. I don't know if that sounds like an immature theme? But even if it does, as I say, I like how that fits the story! KC xox Track description The track begins with a quiet, ambient and moody single strum on an acoustic guitar. The chord resonates for a few seconds before a hand taps out 1,2,3,4 on the hollow body of the instrument, and Katie strums a few gentle minor chords in a semi-quick paced progression, and hums along, her voice sounding sad, gentle, haunting and sort of distant. The humming slowly fades, and is replaced by a striking louder, sharply struck chord, which leads into another brief pause. Verse(1) is preceded by a slow finger picking section (I'm thinking Radiohead "Street Spirit" style here), the tone is still sad, and Katie's soft, London accented voice drifts in, effortlessly, over the instrument's dulcet tones. Verse(1) is sung very softly, and slowly, and the voice kind of slips through the words. A few seconds of an accelerated guitar finger picking section comes in between verse (1) and (2), before slowing down into the same section as previous. Verse(2)is sung louder than (1) and has more of an attitude behind it, to signify her growing resentment. There is also a pondering pause left at the end of lines 2 and 3 in the verse, as the guitar even stops, as if to invite the listener into Katie's mind. At the end of verse (2), the word "tell" hangs in the air for a few seconds, and echoes as Katie strums a repeated, jumpy, deliberate chord, building to a crescendo, which is one sharp chord, and then a quick silence. (.C) comes in during the quick silence, and "It's only my" is sung without a musical accompaniment, which rejoins, in a much faster, slightly more upbeat chord progression for the second half of the first line, and continues throughout the chorus. There are also drums during the chorus, just a simple snare and hi-hat beat, but it helps add to a pleasant change in the ambience. The chorus (.c) finishes, and the chords are replaced by the slower finger picking again for (3), this time with the subtle drums ticking along softly in the background. As Katie's voice comes in, a second guitar plays some very soft, very sad and amazingly slow chords in the distant background. (.c) as above (4) epitomises the frustration and anger pent up inside Katie, and so the chords from the chorus continue here. However, they are played in a biting, deliberate way, with venom, and sound really sharp. Her voice is a lot louder through this verse, and punches the words out, as opposed to the soft, waving voice evident earlier. (.c) as above but with a triumphant sounding key change. The chords are now major chords, and this brings about the happiness that Katie feels being free from the guy. Th drums are also much louder, and the whole thing feels light and airy. (.c) as above, still very cheery and upbeat, but this time, the last line is sung very, very slowly, and the guitar dies away completely as it does. As Katie's haunting tones fade completely away, they are replaced by the same finger picking section which started the song. This section slowly and gradually slows to nothing, as it fades away at the same time. Lyrics (1)I was all alone when you called You said we needed...to be alone To feel what we were going to You quoted love...with all the world (2)I never knew that it could be so hard To see so much To be so fond Of knowing...what you couldn't tell (.c)It's only my..eyes that cry I knew you wanted me to go It's just outside I weep And never really felt so low If you could just see that this was all a mask You'd feel so red, embarrassed I know you're scared to ask. (3)I sat there with you in the sun Staring deep into those dead-brown-eyes I couldn't believe you were not aware That to you, I was not the one (.c)It's only my..eyes that cry I knew you wanted me to go It's just outside I weep And never really felt so low If you could just see that this was all a mask You'd feel so red, embarrassed I know you're scared to ask. (4)You told me we were through And then you looked into my eyes I knew you still could not tell, and so I took a deep breath, (and I told you.......) (.c)It's only my..eyes that cry I knew you wanted me to go It's just outside I weep And never really felt so low If you could just see that this was all a mask You'd feel so red, embarrassed I know you're scared to ask. (.c)It was only my..eyes that cried I knew you wanted me to go It was outside I wept And never really felt so low You couldn't just see-ee that it was all a mask I watched you red, and embarrassed But...you...still...could...not...just....aaasssskkkk Sounds like 2. Lust And Cigarettes (feat Scott Amrstrong) (4:16) Katie’s Comments The second track on my album is called “Lust and Cigarettes”, and it’s a bit more up to date, in terms of following the story theme than the first song was. The song documents my struggle to break into the industry as a professional musician, and focuses specifically on what was a very hard part of my development. The title refers to the attitude and physical conditions I had to endure whilst I tried to get myself a reputation. From the time I turned 18 in early 2010, I decided that I had to get myself noticed, and so I started playing a lot of open mic nights or just acoustic evenings all around London to get my name out there. Sometimes it was great, especially when I got to play in coffee houses and wine bars in the West End, and in those places I felt really appreciated, and warm. However, most of the nights I’m talking about were held in working men’s clubs, or just these seedy little bars, and that’s what the song focuses on. It’s quite a poppy tune, still folk based, but a lot faster, and more upbeat than the first track on the album. There are feminist overtones here in abundance as well. Go girls! The reason for that is simple. The environments I always found myself in in those days meant that I was always finding myself being ogled at by all these middle aged, fat guys. I mean, they weren’t used to having a young blonde in their bars, so they always looked at me with these horrible, old man stares. Yuck! No one there gave two hoots about my music you know? And that’s what this song is chiefly about. The first verse, for example, is about when I used to drive up in my old battered VW, and all the men gathered outside smoking would be looking, and even just walking into the pub with my guitar was a nightmare, I had to try and get past whilst ignoring all the lewd comments. I really like the line “Look at what’s in, and not on my chest” because it is so true. All they’d see on the stage was a singing set of boobs, whilst I wanted them to see my feelings, and see what I had written in my heart. It really hits home to me whenever I hear that line. I also have to thank Scott Armstrong. He was a dream to work with on this track, he really was. He played both guitar parts, and he knew exactly what I wanted to do with it, so it was just so easy to get along with him. Track description This track is a hell of a lot more upbeat than the previous one, so it begins with a foot tapping, catchy guitar chord riff. Quite upbeat, and accompanied by drums, which are being played with brushes, mostly cymbal work. The intro finishes with one deliberate guitar chord, and a crash cymbal is hit with a stick rather than a brush. Verse (1) is sung with a very confident, and very much more aggressive voice from Katie, there is no haunting melody here like in the previous track. Each line begins at the same time as a sharp, short single chord, as the first word is sung, and then the remainder of the line is vocals only. The verse is sung very quickly, and the shorter lines (2 and 3/5 and 6) flow into each other as if they were only one (although the guitar chord still comes in at the beginning of each). Before (.c) begins there is a guitar chord, repeated eight times, and accompanied by a bass drum playing eight beats, to build up to the chorus, where the acoustic guitar plays a very pop/rock style riff . Despite the nature of the song, it is very upbeat, and very happy, and is accompanied by a full drum section for the first time in a song by Katie. All of the shorter lines are sung in a sort of choppy fashion, whilst the longer ones are sung smoother, and a lot less angrily. The drums stop at the word “words” so that only Katie and the acoustic can be heard on “are not why you came”. Verse (2) is different from (1). The same chords are used as in (1) but they are played for the whole verse this time, rather than just at the start of each line. (.c) as above Verse (3) harks back to (1), but not before there is a short bridge of finger picking from a second guitar, which sounds a bit distant, and lost behind the drums and chords as if to signify Katie being lost behind the wall of cigarette smoke and lustful eyes at this period of her life. (.c) as above) Verse (4) uses the same chord progression as the chorus, and flows straight from the chorus, right up until the second last line, where all the music stops and Katie’s voice resonates loud and clear “sad runner up to fags and beer”, without anything getting between her message and its target. (.c) as above Bridge (.b) comes after another period with some finger picking, but this time the picking is solo, as there is no chords or drums in the way. The bridge is sung very very quickly, and all the lines flow together as if they are one, without pause. Each line has a guitar chord, short and sharp at the beginning and end, as if to signal where the line breaks should be. (.c) comes in after a increasing volume of guitar and bass drum builds up, and then as above. (.c) Sung without musical accompaniment, and in a more haunting voice. The agression and attitude has gone, and Katie’s tone is beautiful and meaningful, right to the last line, where she sings very slowly. A short piano outro, very slow and deliberate, and moody, ends the song. Lyrics (1)Pulling into the car park It’s another dark hole For another bright spark The doorway’s but a smoky haze A lustful twisting wolf whistling maze (.c)Lust and cigarettes I’m on the stage to give my best But all they see is me Look at what’s in, and not on my chest Expressions all in vain And I try to not be the same No bimbo in a chain Though my words are not why you came (2)Never changes every night At the end of the tunnel There fades a light I had a dream for me one day I’d top the world When I paid my way (.c)Lust and cigarettes I’m on the stage to give my best But all they see is me Look at what’s in, and not on my chest Expressions all in vain And I try to not be the same No bimbo in a chain Though my words are not why you came (3)But it all seems a hopeless wish Viewed through a glass Just like a fish Feels like I’m always on show Like a prized cow And I can’t say no (.c)Lust and cigarettes I’m on the stage to give my best But all they see is me Look at what’s in, and not on my chest Expressions all in vain And I try to not be the same No bimbo in a chain Though my words are not why you came (4)Punters look and they see meat I view them like They’re dogs on heat I’m not appreciated here Sad runner up To fags and beer (.c)Lust and cigarettes I’m on the stage to give my best But all they see is me Look at what’s in, not on my chest Expressions all in vain And I try to not be the same No bimbo in a chain Though my words are not why you came (.b)And when I think about my nights In pubs and clubs I feel alright I gritted my teeth and I waited It took a while but I graduated Now I can look back and laugh At where I honed and toned my craft I look up at the bright night stars It all once seemed a stretch too far (.c)Lust and cigarettes I’m on the stage to give my best But all they see is me Look at what’s in, and not on my chest Expressions all in vain And I try to not be the same No bimbo in a chain Though my words are not why you came (.c)Lust and cigarettes I’m on the stage to give my best But all they see is me Look at what’s in, and not on my chest Expressions all in vain And I try to not be the same No bimbo in a chain Though my words are not why you came Similar to



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genocidal king		#3 Posted : 01 June 2011 05:49:09(UTC)
Rank: Advanced Member Groups: Moderators, Registered Joined: 21/07/2009(UTC) Posts: 54,407 Location: Leeds, England Thanks: 3469 times Was thanked: 11549 time(s) in 5886 post(s)		3. Breakthrough (feat Will.Rocca) (3:46) Katie’s Comments So this is the third track from my album. It’s called “Breakthrough”, and once again, it helps in following the “story” I was trying to build. This song is about when a rep from Studio60 came to one of my pub gigs, it was another horrible night, and I didn’t know anyone was there to watchme for that purpose. In fact, I still don’t know what had inspired them to come! Anyway, at the end of my show, the guy came up, and invited me in to talk contracts. This is about the immediate aftermath of that. At first, this song was going to be about being signed, and how my life had actually changed since, but when I sat down and started to write it, that didn’t flow out at all. So I ended up instead with a song about how my expectations and dreams changed in the immediate aftermath of that realisation that I had a chance to make it. As you’ll hear, the resentment for the clubs and pubs scene is still a bit evident here. It’s not as obvious as in the last track, but I do refer to it a few times. The line “I’m going now, and I won’t look Back At Orchards Gold and Bulls of Black”, actually refers to two of the actual pubs I used to have to play in a lot, The Black Bull and the Golden Orchard. They were absolute hell holes, and I used to have to face a lot of “get them out love” and all that crap when I played in those places. In saying that though, most of this track is actually positive. I liked going into my own memory and digging out my emotions again. It was really fun to see what I had felt back then, and I think I managed to convey it accurately. I was dreaming big, and I still am! The song itself is a really poppy song. We used electric guitars in this one, which was a first for me, but was really refreshing! I have to thank Will.Rocca as well, he was wonderful to work with, he really was. I had such a fun time in the studio with Will. Yeah, so I hope you like it! Track description This is the poppiest song ever from Katie, and as such, it begins in surprising fashion, with a very upbeat, “happy” synth playing a quick beat, which dies away, but is still playing in the background, as the acoustic guitar comes in, playing a quick guitar chord, fast strumming riff. Verse (1) is sung to the backing of the acoustic guitar only, it is quite fast in terms of how the lyrics sound. Lines 1 and 3 are sung in a lower key, and Katie’s pitch changes to slightly higher for lines 2 and 4, which adds a nice bit of variety, and also helps to add to the illusion of growth, a new beginning and a change in attitude. There is a slight gap between verse (1) and (2) which is filled with just guitar, before it takes the slightest of gaps, almost un-noticeable, and is joined by drums, which herald their arrival with a quick rap on the hi-hat. Verse (2) is sung similarly to verse (1) but with a lot more confidence and attitude. The drums play throughout alongside guitar, and the synth can still be heard playing softly in the background. As Katie sings the last three words of the verse, the guitar and drums punch in time, as she says each word, adding a strength to what she says (“Got It Made”). There is the slightest of gaps between (2) and the chorus (.c) in which the drums play a quick drum fill, and then an electric guitar joins to replace the acoustic, playing the sort of reasonably heavy riff that we would never expect to hear from Katie. (.c) is sung in an almost pop-rock fashion. Line 1 and 3 are sung a bit slower, with a punch packed in each word to give a sense of determination. These lines flow directly into 2 and 4, which are sung a lot faster, and in a slightly lower key. Lines 5 and 6 are in a higher pitch again and reasonably slow, before the last lines are very slow, and she holds the last “Breakthrough” for a good few seconds. The electric guitar continues through verse (3) as it lends a tad more groove to it, and you can feel Katie getting right into the lyrics, spitting them out with an attitude like Hayley Williams of Paramore. (4) is the same as (3) (.c) as above Verse (5) is sung accompanied by just the synth. Katie goes back to the haunting meolodies of her sadder songs, as guitar and drums remain silent. After the last line of the verse, the guitar and drums return, playing a sort of “dun dun dun dun” riff building to a crescendo, as the chorus kicks back in, rockier than ever. (.c) as above For the bridge (.b) the guitar and drums remain, but play a very soft version of the chorus riff, undistorted, and sounding very clean. Katie sings softly over the sound of the synth and the quiet of the other instruments. Then the chorus build up (as before) comes in again, longer this time, and going to a higher crescendo (.c) as above The last chorus plays without a break from the one before, and this time has a key change. It has gone up an octave, signalling triumph, and moving up and on. The song ends with just the lone sound of Katie whistling the rhythm of the chorus, which gradually slows and fades away towards the end. Lyrics (1)Obscurity was once my friend But now it seems it’ll come to an end No longer will I sense the fear That my dreams are never really near (2)I’m done with this infernal place The pub scene is a grim rat race For young girls to earn their trade But now it seems I got it made (.c)This is not the last time you’ll see me I’ll go up in the world And I’m smashing through the barriers To an all knew kind of girl Racing to the pinnacle My Everest new This is my Breakthrough This is Breeeaaak-throough (3)I’m going now, and I won’t look back At Orchards Gold and Bulls of Black I see the light I’m dreaming large Big things for Katie and my guitar (4)Success is addictive, and it’s coming for me But all I want is just to live and a chance to break free From the lust and all the prying eyes and every fight To the screaming of thousands every night (.c)This is not the last time you’ll see me I’ll go up in the world And I’m smashing through the barriers To an all knew kind of girl Racing to the pinnacle My Everest new This is my Breakthrough This is Breeeaaak-throough (5)The sky is the limit or so they say But I won’t stop there, oh I’m on my way Look at me soar higher as my confidence grows And the memories of self hate start to decompose (.c)This is not the last time you’ll see me I’ll go up in the world And I’m smashing through the barriers To an all knew kind of girl Racing to the pinnacle My Everest new This is my Breakthrough This is Breeeaaak-throough (.b)And my dreams will all come true It will be because of you All my life I worked so hard For the chance to see what I can become And my dreams will all come true It will be because of you You believed that I could make it okay And I promise I will be there someday Some…day (.c)This is not the last time you’ll see me I’ll go up in the world And I’m smashing through the barriers To an all knew kind of girl Racing to the pinnacle My Everest new This is my Breakthrough This is Breeeaaak-throough (.c)This is not the last time you’ll see me I’ll go up in the world And I’m smashing through the barriers To an all knew kind of girl Racing to the pinnacle My Everest new This is my Breakthrough This is Breeeaaak-throough Similar to (in the chorus only really) 4. Sunrise in Suburbia (feat. Jack Straw) (3:16) Katie’s Comments Track four is called "Sunrise in Suburbia". It's like, a double whammy hehe. On one hand, it continues the story that I have been trying to portray, but it also acts as a thank you, a testimonial, and an homage to the band who made it all happen for me, and I'll address that first. After I had just been signed, obviously I still had nowhere really to go. I was just Katie on my own as always. But then a band came along, and said that they had seen some of what I could do online, and they were impressed. That band was called Suburban Sunrise, hence the title of the track, and they added me to the bill of their UK tour right there and then. Whilst being signed was obviously a massive step towards where I wanted to be in the industry, I honestly believe that this band, and the fact that they took me on my first tour, was the stepping stone to me being able to be where I am today, and I will always be grateful to them for that. So I raise a glass to Suburban Sunrise! In terms of the story aspect, this is a simple step. Although the lyrics don't actually mention being on tour specifically, they do allude to it, and so it continues the step by step notion that I'm trying to put across. I've now moved from "where it all began" to being on tour, visiting obscurity and discovery en route. And I'm pleased with the story up until this point. I can also say though that I'm pleased that, in my mind, each song stands on its own rather well too. I didn't want it to be one of those albums with a concept that always has to be played from start to finish you know? The song itself, is a metaphor as I've said. It's a thank you metaphor, and a metaphor to being on tour through ideas of freedom, discovery, and just being accepted. It makes me feel so warm inside, and it really brings back the memories when I hear it. The song is actually one of the shortest on the album, and it has the most obscure structure of all of them I think. But because of how it fits together, I liked it. It's back to Katie being Katie, there's no pop in it really, we just went for acoustic guitar, and some banjo...yeah, banjo hahaha. I hope you all like it. Obviously I had another guest on this track, and I'd like to thank Jack Straw! When i heard he was coming in, I have to admit I questioned it, because I knew he was a bassist in his own band. But he totally proved me wrong, and he was a delight to work with! Track description Back to basics for Katie here, in a song which loses the pop influence that we have seen from her lately, and this song starts with a straight up acoustic intro. The acoustic guitar strums for a while some gentle chords, before it changes to a mixture of medium paced picking and fast paced, major strumming. Verse (1) comes in with a slow first line, sung over a bouncy, but quite slow, simple guitar chord progression. It appears to be more about the voice than the music in this track. Katie's haunting voice sings line 1 quite slowly, before line 2 picks up the pace, in order to make the longer line still seem "in place", although she does pause for a second mid line. Line 3 is slower again, before the pace of her vocals picks up again for the final line, which is sung with a much choppier guitar chord progression. Between verse (1) and (.b) the banjo comes in to replace the strumming of the guitar, with its typically tinny sound being very distinctive and allowing the guitar to play the simple but effective picking it was before for around 10 seconds. The music changes again for (.b) as the pace pace picks up slightly, but it changes to a slightly minor tone. Both guitar and banjo now play the same strumming chords, as Katie sings the slow first line, followed by a slightly uplifting tone, and a much higher note throughout the second line. This change is repeated through lines 3 and 4. The banjo and guitar break very suddenly, as Katie sings the single last word, "you" before rejoining almost instantly, with the banjo strumming and the guitar finger picking again. The pace during verse (2) is a lot faster than (1), and the guitar and banjo continue to strum and pick respectively, with Katie's vocals overpowering both rather convincingly, she sings this verse more powerfully, but still with that haunting tone. (.b) as above (.c) comes in after a harmonica plays a short interlude following the bridge. Guitar and banjo stay on the same riffs as the harmonica plays. Then (.c)comes in with guitar and banjo both playing chords again. Katie sings much louder and with a lot more exuberance than the rest of the song, and the music packs more of a punch as well, almost as if she really wants the name of the band she is thanking to jump out at people. (.c) as above Verse (3) is a return to verse (1) style with just guitar and Katie, but it packs more of a jumpy attitude than the first verse did, and is slightly more pacey. (.b) as above Harmonica interlude again (.c) as above Verse (4) comes in with all instruments now playing the same, single chords, without a repeated strumming pattern. Even the harmonica is playing softly in the background, as Katie sings quietly, but confidently. (.b) as above (.c) as above, but the final two lines are sung without music, before the harmonica comes in to play a nice, happy outro. The final line (o) is sung, with one guitar chord played the start and finish, before the banjo plays a little, low key flourish. Lyrics (1)You believed what I said Although I ran out of ways….to tell you what I meant You had the faith in my style Because of what I did, you said we’d go for miles and miles and miles (.b)This must be what it’s like to win Goosebumps run deeply through my skin But god bless you, you alleviate my loneliness You bring a smile to my heart when I’m with You (2)You took me far from this place Lifted out of a rut and to a new time and new space My bones were filling up with doubt But now I’m here I see what life must be about (.b)This must be what it’s like to win Goosebumps run deeply through my skin But god bless you, you alleviate my loneliness You bring a smile to my heart when I’m with You (.c)Sunrise in Suburbia bright You take me to the day from dust And blow away the night Sunrise in Suburbia swell My new life on the road Is so so far apart from hell (.c)Sunrise in Suburbia bright You take me to the day from dust And blow away the night Sunrise in Suburbia swell My new life on the road Is so so far apart from hell (3)Took me under your wing We soared together, sipping on a T and gin There’s still screaming every night Now there’s adulation and applause and bright white light (.b)This must be what it’s like to win Goosebumps run deeply through my skin But god bless you, you alleviate my loneliness You bring a smile to my heart when I’m with You (.c)Sunrise in Suburbia bright You take me to the day from dust And blow away the night Sunrise in Suburbia swell My new life on the road Is so so far apart from hell (4)I waited all of my days Then someone plucked me from a dark and lonesome maze I feel on top of the earth Suddenly there’s someone who can see just what I’m worth (.b)This must be what it’s like to win Goosebumps run deeply through my skin But god bless you, you alleviate my loneliness You bring a smile to my heart when I’m with You (.c)Sunrise in Suburbia bright You take me to the day from dust And blow away the night Sunrise in Suburbia swell My new life on the road Is so so far apart from hell (o)This must be what it’s like to win Similar to



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genocidal king		#4 Posted : 01 June 2011 05:50:09(UTC)
Rank: Advanced Member Groups: Moderators, Registered Joined: 21/07/2009(UTC) Posts: 54,407 Location: Leeds, England Thanks: 3469 times Was thanked: 11549 time(s) in 5886 post(s)		5. Intravenous (feat Jenny Hudson) (5:58) Katie’s Comments It's time now to wave buh-bye to the upbeat, happy Katie that you've known in the album so far. Well, not quite yet actually. This song is the last of them, so after that, it's kind of downbeaten, down trodden, poor Katie sort of theme. If you're not into that then I hope you enjoy this last track of happy times! So, the theme first of the song? Yeah, this one is about when I started my affair with Miss Vanity. I was on tour at the time with Suburban Sunrise, and I got talking to Miss Vanity one night in LA. We just sort of "clicked" as the major cliche goes, and then, from there, we met up almost nightly for some really good times. Obviously everyone knows how it ended up, it was all over the papers, and the mags. But at the time, for me, it was wonderful, it was beautiful, and it was, in my opinion, love! I was still of that opinion when I wrote the song and I think that's what you hear first and foremost when you listen. It should be anyway haha. The title, "Intravenous", really has to go through a number of degrees of separation to make sense. I'll try, Miss Vanity - Vanity - Vain - Vein - Intravenous (meaning in the vein literally). I chose it because of the way I felt when I was with Vanity, you know? I just had such a passion, and desire and love coursing through my veins, and it was all because of her. I know I went a little mad after a while when she broke my heart...but I can honestly say I would thank her to this day for the experience I had with her, and I would never change it. As I said, the track is very positive in nature, although it is, like the last track, very acoustic, and very ambient and quiet. It's not a fast pop track, and it might even be one of those "put your lighters in thew air" ones, I dont know haha. My guest on this track was Jenny Hudson. Another wonderful musician who captured the mood well. She sings on a later track as well, but for now, her guitar work here was awesome! Thanks Jenny! Track description As a more ambient track, this song begins with a few seconds of almost total silence. The only thing we can hear is the sound of an old record player, as if it has reached the end of the record and is just making that slight flickering, popping noise. Then a guitar comes in and plays four slow guitars, over and over, interspersed with a short three notes finger picked. Verse (1)is sung over the intro guitar part, after it has played for around 20 seconds. Each line is song with a very soft voice, and very slowly, and at the end of each line there is a rest, which is filled by one bar of four chords and three single notes. After line 3 there is a longer break of three bars of the same riff, and after verse (1) is finished, there is another 5 of these bars played in succession, at the same pace. Verse (2) is quite similar to verse (1), except that the vocals are now a bit more prominent. Katie's voice is a little louder, but still soft, and still without any attitude, the breaks between lines seems a little shorter as she holds the last word of each. Between verse (2) and the chorus, the guitar chords pick up pace and play a more continuous riff, and is joined by an electric guitar, undistorted and very quiet, playing a single note by note solo of sorts over the top of the riff. This is a lot faster than the verse, but still manages to be quiet, and fit the ambient mood. (.c) is sung over the above guitar duet, and is sung in a much happier tone by Katie. She sounds a lot louder, and a lot fresher, and the voice is not as soft as before. Lines 1 and 2 are sung very quickly and flow into each other without a break, whilst line three is sung a lot slower. There is also a break in the vocals at the end of line 3. Line 4 and 5 are fast and flowing again before the slow line 6...even slower than 3, and then the music stops to allow the last, solitary line to be sung without musical accompaniment, except for the single acoustic chord at the last word. This chord leads into the original guitar riff again for the start of verse (3). Verse (3) is sung like (1) and (2) again, but with more conviction in the voice from Katie, which appears to be growing in strength and confidence with every verse that passes. Verse (3) and (4) are separated by a short period of Katie just whistling along to the guitar track, in the same style that the vocals follow in the verses. It is haunting, and sounds distant. Verse (4) is like verse (1) in how quiet the vocals go again. They are no longer growing and getting louder. The electric guitar comes back in again after a short burst of the opening riff again. (.c) as above There is a brief silence, before all of a sudden, the electric guitar alone comes in and plays a small solo, nothing flashy. The solo is quite slow, but has a catchy bluesy sound to it, and is joined by the vocals of(b) which are very fast, and sung without a break, save for between the two blocks of lyrics, when the guitar plays alone for four bars. (.c) as above) Then half (.c) is sung immediately following the other chorus, without the electric guitar this time, just acoustic. Jenny Hudson is heard for the first time vocally here, as she and Katie both sing the last line together, very quietly, and sandwiched between two single guitar chords. The guitarist plays all six strings one at a time, then silence. Lyrics (1)I’ve been awake for days Trying to find a way To be with you for life (break) You make my head spin It still feels like a win I waited for you for years (2)You see my life was a lie 18 years learning how not to cry The weight of the world I’ve bourne (break) But now it’s all way in the past Oh god I only hope this lasts I got you pouring through my veins (.c)When you’re around in I feel drawn in What we both want some says a sin But we don’t care too much I’m guilty every day of this When I go out it’s you I Miss I need your laughs This is love not infatuation When I saw you in the station I saw the love in your eyes It’s like I just escape now When our skin meets my heart rate It rises up With you, I won’t be alone tonight (3)I used to wait alone Now I stand here by the phone Your name flashes and it lights my life (break) A Com-for-table dream A love without a seam We lie here and we unite (4)This was what I need On the love from you I feed My nights are now filled with day (break) A vanity so pure I’ve never been so sure Of such a perfect case of sanity (.c)When you’re around in I feel drawn in What we both want some says a sin But we don’t care too much I’m guilty every day of this When I go out it’s you I Miss I need your laughs This is love not infatuation When I saw you in the station I saw the love in your eyes It’s like I just escape now When our skin meets my heart rate It rises up With you, I won’t be alone tonight (b)And when I look around and I see Millions of oblivious I must confess I want to shout it, I want to Tell it to the world You say I’d make a mess The truth could be a liberator My sentimental ventilator Let me breathe You want me and I need you but You want it all as well and I am Just your rut Your stuck in (.c)When you’re around in I feel drawn in What we both want some says a sin But we don’t care too much I’m guilty every day of this When I go out it’s you I Miss I need your laughs This is love not infatuation When I saw you in the station I saw the love in your eyes It’s like I just escape now When our skin meets my heart rate It rises up With you, I won’t be alone tonight This is love not infatuation When I saw you in the station I saw the love in your eyes It’s like I just escape now When our skin meets my heart rate It rises up With you, I won’t be alone tonight Similar to 6. Naked on Paper (feat Eric Quillington) (4:11) (single number one) Katie’s Comments This song, it's called "Naked On Paper", is a song which means quite a bit to me. The title is a metaphor, referring to how exposed I felt seeing stuff written about me in magazines and newspapers, and how it made me feel that I was just the public's eye candy...I essentially did feel naked for weeks. I wrote this track whilst all of the "rumours" surrounding the Miss Vanity scandal were going on. It was a very difficult time for me, because of the fact that I had to not only try to protect myself and pretend that it was all lies, but I felt like I had to protect Vanity's best interests as well. She had told me not to tell anyone about us, but she was feeling very little pressure from the media. So I felt like I had to hold up a whole load of lies, and deceit on my own whilst she used me as the barrier to allow her to do what she does. The song reflects my dark dark emotions at the time. You'll hear the lyrics, they're all about lies, harassment, bombarding, exposure etc. This was what I was feeling at the time of writing it, when I was locked in a hotel room, alone, facing wave after wave of paparazzi. The music itself is also quite dark. Because of the broken arm, I had Eric Quillington in for this one playing guitar. Eric is a true musician, and he was really easy to work with, and I think his guitar playing on this track captures my feelings of isolation and fear really really well. In terms of the artwork. That has a good story to it. This is a picture I took in one of my "less stable" moments. I hadn't slept in like 48 hours, and they were knocking on my door, shouting, "Katie, just admit it....did you sleep with Vanity?" "Come out, let us see you...give us a picture" and all that. So I grabbed my own camera, threw the door open and screamed "How do you like it" as I took pictures of them...probably not the best move at the time. But we got to use the picture for this single cover, and we just threw a coloured pencil filter over it, and I think it looks ok. The black outer border, which is very thick, was my idea. It's supposed to symbolise the barrier of that world. There literally was no way out. I was boxed in with those people, those cameras. Track description The song starts with a slow, smooth keyboard intro. It sounds very soothing, and almost peaceful, before a loud acoustic guitar breaks the serenity, and plays one loud chord, before going into a medium paced chord progression, as Katie sings the opening verse (1). Verse (1) is sung in short, slow bursts. Each line of the song is started at the same time as the guitar plays a single chord, which rings out as she sings the rest of the line. There is also a momentary pause at the end of each line. Between verse (1) and (2) there is a ten second break, where the guitar picks up and plays a medium to fast paced folky progression, which symbolises the frantic lifestyle of celebrity culture. Verse (2) is sung in the same fashion, with the same music as (1), until the last line where Katie sings a bit louder, and the guitar plays repeated chords, building up to the chorus (.C) Comes in with the guitar playing a loud, triumphant, but dark sounding chord, accompanied by the smooth keyboard once again. They play a lot faster than in the verse, and Katie's lyrics are a lot smoother, as each line runs into the next, without the gaps used in the verses. The last line of each chorus is sung slower, without any music, which just fades at the end of the penultimate line. (3) the first line of verse (3) is sung without music, before the guitar joins in on line 2, but this time it plays constant chords rather than just one at the start of each line. There are gaps in the vocals as in (1) and (2), but no gaps in the guitar playing. (.C) just as above, but the music stops abruptly as Katie sings the last line of the chorus (4) is sung with just keyboard and no guitar. The smooth keyboard at this point is used to symblolise the haunting feeling that Katie felt when she needed Vanity. She felt alone, but there was always an eerie silence when she called out for help The lyics are sung in the same manner as all the other choruses. (.B1) the first bridge is very fast paced but still very much in a minor key. Each line is sung with a punch, as if their is some venom behind it. The final word "lust" is held for a while, as the guitar plays a jumpy repeated chord to build up once again to the chorus (.C) Chorus as above (.B2) This is sung completely acapella and very quickly. Katie has like a filter over her voice to make it sound quite distant and haunting, but there is a real sense of hate in her voice, as if she wants the listener to feel the pain that she felt. This repeats, exactly the same. (.C) Chorus as above (.C) Chorus sung acapella, after line 4 it really slows down, and by the end, it sounds like Katie's voice is breaking through crying. The last line is sung through tears, and incredibly slowly, before the guitar comes back in and plays a very slow, and very minor key finger picking section. It then finishes with one, slow, deliberate chord, which sounds very sad. Lyrics (1)A bright flash of lightning Obscurity’s death Turn eyes to the pages A rumour spread I pray for the silence My friend in the dark Casting a shadow On my heavy heart (2)I feel interrupted By society’s glare I’d never have asked to Be such a fare I turn and I block out My mind is a blur Running from rumours Like a wildfire they burn (.C)And now I’m naked on paper, I’m Exposed to the world It’s a hopeless situation, and I’m just a hopeless girl, oh so Naked on paper Why can’t you see all the pain, oh My mind is like a pavement Weather beaten in the rain (3)There’s light in the tunnel It’s far at the end A glow of resistance, My silence commends, But soon it’s all shattered Privacy isn’t free Public interrogation Is all for me (.C)And now I’m naked on paper, I’m Exposed to the world It’s a hopeless situation, and I’m just a hopeless girl, oh so Naked on paper Why can’t you see all the pain, oh My mind is like a pavement Weather beaten in the rain (4)It’s all here on me The public glare You get off scot-free Whilst I’m laid bare I beg for assistance It’s changing me But you didn’t help it You have to have seen (.B1)And now I see through this game This unforgiving fame It’s a… lonely existence Filled with enemies and resistance I tried to turn and walk away It’s my life but I can’t play It’s all lies and there’s no trust I’m just a girl, not society’s lust (.C)And now I’m naked on paper, I’m Exposed to the world It’s a hopeless situation, and I’m just a hopeless girl, oh so Naked on paper Why can’t you see all the pain, oh My mind is like a pavement Weather beaten in the rain (.B2)They lie, and then You all believe I tell the truth and people leave My side and It’s all so absurd I’m just a girl Here in the world… (.B2)They lie, and then You all believe I tell the truth and people leave My side and It’s all so absurd I’m just a girl Here in the world… (.C)And now I’m naked on paper, I’m Exposed to the world It’s a hopeless situation, and I’m just a hopeless girl, oh so Naked on paper Why can’t you see all the pain, oh My mind is like a pavement Weather beaten in the rain (.C)And now I’m naked on paper, I’m Exposed to the world It’s a hopeless situation, and I’m just a hopeless girl, oh so Naked on paper Why can’t you see all the pain, oh My mind is like a pavement Weather beaten in the rain Similar to



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genocidal king		#5 Posted : 01 June 2011 05:51:28(UTC)
Rank: Advanced Member Groups: Moderators, Registered Joined: 21/07/2009(UTC) Posts: 54,407 Location: Leeds, England Thanks: 3469 times Was thanked: 11549 time(s) in 5886 post(s)		7. Invanity (feat Eric Quillington) (6:11) Katie’s Comments Getting on towards the tale end of the album now, and the real sort of dark, negative, depressive side of Katie is starting to show more and more. This song is, of course, about the break up between me, Katie, and Miss Vanity. I called it Invanity, because it epitomises the sort of downward spiral she sent me into when she unceremoniously dumped me like a bag of rubbish. I went from being a happy go lucky girl who was in what she thought was a brilliant, happy, loving relationship with a wonderful woman....to a depressed girl living on the (wrong) edge of sanity, feeling like I had been hung out to dry by a superstar who just didn't care that she had hurt me, or that it was destroying me mentally. I really don't have to point out the track by track story anymore I don't think, but chronologically, this was the next stage in the tale, and it gets close to where I feel the story should end. I am not proud of this song at all, and at first I was not going to use it in the album. But for the story aspect, and for the album to feel real, true and honest, it really does help give it an edge emotionally. I was in a very bad place when I wrote this. I think I saw the paper through red eyes and soaked cheeks, because I cried for weeks after it. This was a really terrible part of my life, and I hope that people can hear that when they hear the tune. I know that the music behind my words ( thank you again Eric) really helps me to regain that emotion, and so I hope that it brings a degree of empathy through to you guys as well. You'll also notice it gets more angry throughout as the song progresses. I suppose that's because of the stages of hurt, sadness, loneliness, and finally anger, that I went through at the time. Again, this is raw, pure organic emotion from me in this track. I apologise to Miss Vanity for it, and I thank Nicole dearly for not having a problem with it being released. Track description The song starts with a very repetitive guitar chord, played frantically, quickly, and over and over in quick successsion. This lasts for around 20 seconds before the same chord is played once, very slowly strummed. Katie's quiet voice whispers "shhhhhh". Then another acoustic guitar part comes in, playing a finger picking riff which is fast, and then followed by the same single, slow chord, and Katie's soft voice whispers, "shhhhhh". A drummer plays 1,2,3,4 notes on the rim of the snare, the skin and strings rattling lightly as he does, and the proper riff kicks in alongside one quietish tssshhhh on the crash cymbal. The chords are played quite quickly, alongside a very fast picking section, which stops as the vocals come in Verse (1) is sung with only the chords for accompaniment. The lyrics are sung very fast, with a very much different tone to Katie's voice. The tone is lower, the emotion is more angry, and sad at the same time, and she peaks in the middle of each line. This plays down the last word of each line, giving a feeling of giving up, regret and hopelessness. Verse (2) follows straight on from (1) without even the hint of a break. The only difference is the volume in her voice, which is still depressed, but louder and more commanding. The second line is sung in a much more upbeat tone for some reason. This only serves to highlight the depressed tone of line 3 and 4 however. At the last line of (2) the guitar stops the start of the last word. All is silent for a few seconds, before the chorus (.c) comes in. The guitar plays a chord on the first word, and each of the "aye"s and remains silent for the rest of that line. On the even numbered lines it plays a finger picking section, to accompany the much faster and more frantic lines of the chorus (lines 1 and 3 and 9 and 11 are sung slow, and she hangs on to each word.) Line 5 onwards is sung with the accompaniment of a continually strumming guitar again, as it is faster, and sung as one continuous piece, seemingly ignorant of the line breaks. The second section (from line 9) of the chorus (.c) is the same again repeated. Katie "shhhhhhh" again straight after the chorus, and we hear her breathing quite quickly. The guitar then comes back in, strumming only chords along to verse (3). Theseverses (3) and (4) and are sung with alternating tones. She sings the first in a very downtrodden voice, displaying her pathetic depression, before the even numbered lines seem to give some semblance of hope, only to be dashed by the lyrics. (.c) as above The the unexpected happens. Katie counts out loud 1,2,3, and then the drummer plays a quick drum fill. The guitar kicks in with some ballad type loud chords, and Katie's voice sounds triumphant. Each line of the bridge (.b) is sung with a more positive tone. The lines are sung like that of an 80s power ballad, and are loud, brash, and even slightly cheesy. This makes a bizarre sounding comedown, when we return to the verse (5) after it. Verse (5) is sung as vocal only, no guitar, before drums (played with a brush) come in for the second part. Verse (6) and the guitar returns, along with the whistling of Eric Quillington, which brilliantly mimics the tone, sound and style of each and every word of the verse sung by Katie. (.c) As above Verse (7) and (8) are accompanied by both strumming and picking on guitars, and are a lot faster than all verses before them. Her voice sounds angry now as she has a proper dig at Vanity and really lays into her. There is venom when she wishes Vanity dead as well. We can almost sense how she spits out the words to that hateful line. (.c) as above (.c) A capella, just Katie, very quiet, very slow, and very sad The song ends to the sound of Katie's sobbing. Lyrics (1)How did it come to this, we We had it all in our hands and, I watched as you drained away and We simply failed to exist (2)It was like a dream so ecstatic, where you wake up just to find That it was all in your head, and It’s snatched away just as quick (.c)And aye ee aye need Someone to hold my hand, and Aye ee aye need A girl who’s more than a friend, and This is not what we agreed to I am not the enemy But you act just like a princess Denying all knowledge of me And Aye ee aye would I’d walk all night for you and Aye ee aye would I’d drive right round to you but You don’t feel just what I’m feeling And you don’t return my calls All I wanted was some comfort You were never here at all (3)My personal Indian Summer Brief burst of temperatures high You didn’t take long to discover I guess I wasn’t your type (4)But in the end all I wanted, was For you to be who I hold Now there’s hope you get haunted Just like when I was exposed (.c)And aye ee aye need Someone to hold my hand, and Aye ee aye need A girl who’s more than a friend, and This is not what we agreed to I am not the enemy But you act just like a princess Denying all knowledge of me And Aye ee aye would I’d walk all night for you and Aye ee aye would I’d drive right round to you but You don’t feel just what I’m feeling And you don’t return my calls All I wanted was some comfort You were never here at all (.b)For now I lie alone in the cold of the night It was the end of us but not the end of my life Yes it hurt me bad when you spat in my face I only hope you realise you’re a fucking disgrace (.b)For now I lie alone in the cold of the night It was the end of us but not the end of my life Yes it hurt me bad when you spat in my face I only hope you realise you’re a fucking disgrace (5)When I reached out I was lonely You scoffed and laughed at my pain All that I wanted was only You, but clearly that was in vain. (6)The world just had to know that Little Katie’s the case of a nut But Vanity’s blushes are spared now Priorities born of a slut (.c)And aye ee aye need Someone to hold my hand, and Aye ee aye need A girl who’s more than a friend, and This is not what we agreed to I am not the enemy But you act just like a princess Denying all knowledge of me And Aye ee aye would I’d walk all night for you and Aye ee aye would I’d drive right round to you but You don’t feel just what I’m feeling And you don’t return my calls All I wanted was some comfort You were never here at all (7)I see you’re off round the world with Big shoes and a fancy dress The people think you’re a big shot I’ve seen, I know you’re a mess (8)You think that Katie’s extinguished Another notch in your bed One day when I am distinguished That slut and career will be dead (.c)And aye ee aye need Someone to hold my hand, and Aye ee aye need A girl who’s more than a friend, and This is not what we agreed to I am not the enemy But you act just like a princess Denying all knowledge of me And Aye ee aye would I’d walk all night for you and Aye ee aye would I’d drive right round to you but You don’t feel just what I’m feeling And you don’t return my calls All I wanted was some comfort You were never here at all Similar to 8. Shattered Dreams (feat Jack Straw) (3:13) Katie's comments This was another song that I was originally reluctant to include on the album. Number one, because it's about Nicole....and I love Nicole, and this song is all about the hurt and pain she caused me previously. It's not applicable any more. And number two, because it's a rap metal song. I am no rapper, or heavy metal girl, but at the time I wrote it, I was in a horrid mood, and it came out really jumpy and loud and heavy...so that's how it ended up I guess. It's different anyway, you can't say I'm boring. Again, this one continues the story, and despite my misgivings, it's a good way to start to bring it to an end. The songs previous were sort of the middle if you will, whereas this starts the conclusion. If breaking up with Vanity was a terrible time in my life, I think this was the only thing that was worse. My dream had always been to make my own album. It would just be Katie and a hollow bodied acoustic guitar. I knew how it would sound, and I knew it would be wonderful, and perfect, and Katie. And then this happened. Nicole broke my arm to the extent I may never play guitar again. And at the time I was devastated. My perfect album was gone, just like that. And that's where the title came from. My favourite lyric in the song is to do with birdies talking. It has a treble meaning, which I'll tell you about now. Number 1: The birdies, where this sorry fiasco all began. 2. the chirping press with their snapping beaks (cameras), and 3. Tweeting/twitter, where the fall out with Nicole, and subsequently the whole thing which this song is about, started. Again, I had Jack with me on this song, and I'd like to thank him, he was wonderful. Track description This song begins with a loud bang on a drum, one bang only, and then followed by a fast guitar and keyboard riff. This plays for a while before Katie's vocals come in, with the music stopping just in time. Verse (1) begins, and is sung very slowly, and each line feels almost cut into two as she takes a break, and we can actually hear her breathing, sighing loudly in between. The only instrument playing is a softly picking guitar (acoustic) in the background. A high pitched keyboard comes in and plays an interlude between verse (1) and (2), as the guitar returns to strumming chords, but this time in a more reserved manner, much slower and without the volume from the beginning. Verse (2) is sung to the accompaniment of the same guitar piece, but she sings this one a lot slower, and with a lower, deeper tone. The lines have the same breaks, and the same sighs, with the only real difference being at the end of the last line, where the music stops, and the guitar plays just one slow chord as she finishes singing the last word. Then the quick intro returns, with keyboard and guitar, this time accompanied by drums, and the (.pc) pre chorus is sung in a surprisingly happy tone, which defies the theme of the song, and very very quickly, with the first line running straight into the second and the the third into the fourth without breaks. The music stops and there is silence for 2 seconds, which feels like an age. In the (c) chorus, there is a single, very loud guitar chord played on each of the first two words, before it picks a quick, complicated riff for the send half of the line, and strums for the second line which is sung without a breath being taken. The next three lines are sung with just the strumming of the guitar, and a little drum accompaniment. The last line is sung without music, very slowly, and in a very sad, alone sounding tone. There is then a brief silence. It repeats the same method for the second half of the chorus (c). Verse (3) is a lot faster than (1), it doesnt have the same breaks and sighs in it, and the guitar plays a much more upbeat style strumming riff. Verse (4) is almost the same as three, but a drum fill just before it begins heralds the return of the drums, which play throughout the verse, accompanying the guitar riff. Then the quick intro returns, with keyboard and guitar, this time accompanied by drums, and the (.pc) pre chorus is sung in a surprisingly happy tone, which defies the theme of the song, and very very quickly, with the first line running straight into the second and the the third into the fourth without breaks. (.c) as above Verse (5) is the same as verse (1) completely. Verse (6) comes in after a very loud drum fill, and plays on the same way as (4) Then the quick intro returns, with keyboard and guitar, this time accompanied by drums, and the (.pc) pre chorus is sung in a surprisingly happy tone, which defies the theme of the song, and very very quickly, with the first line running straight into the second and the the third into the fourth without breaks. Silence for about 15 to 20 seconds, and then a massive drum fill, then the keyboard comes back in, and then the guitar once again, as they build up to a crescendo. (.c) as above Lyrics (1)Oh, the pressure was on when I called for a friend Where I needed to cry you had an empty to lend From the start you were with me, and guided my hand But what you've gone and done now, it was not part of the plan (2)Now the birdies are talking, they snap beaks in the night You say you wanted to help but you just added more fright To the hell I was living.... in a media haze I looked to you for advice and you just handed them praise (.pc)And when the push came to the shove It's fight or flight, (pick from above) I stand my ground right through I won't back down to yoooouuuuuuuuuu I make mistakes, but I want you to show The loyalty I showed you (.c)Smash! Bang! Once you came in Katie what you're doing's all such a sin Knocked down! Don't get back up! What I'm doing here, it's not a hiccup Thump! Slap! Look at you bitch Head is spinning I don't know which way is which My dreams are shattered by you Yes my world was shattered by you (3)You thought it was a joke when you ran your mouth It's the funny kind of thing that I could live without I'm losing my cool and I'm losing my mind But all I really needed was for you to be kind. (4)And now you tell me, you're coming round here You're gonna beat up Katie, just cos she's queer I'm just not as brave as you think And now the bloody river, it flows in my sink (.pc)And when the push came to the shove It's fight or flight, (pick from above) I stand my ground right through I won't back down to yoooouuuuuuuuuu I make mistakes, but I want you to show The loyalty I showed you (.c)Smash! Bang! Once you came in Katie what you're doing's all such a sin Knocked down! Don't get back up! What I'm doing here, it's not a hiccup Thump! Slap! Look at you bitch Head is spinning I don't know which way is which My dreams are shattered by you Yes my world was shattered by you (5)You burst in then and hit me hard I thought you had marked my card Curling up tightly into a ball I dunno what you intended at all (6)It was then I felt my dream getting ripped From my mind and my conscious mind as you slipped And you hit me hard and shattered my arm If you wanted to destroy, it worked like a chaaaarrrm (.pc)And when the push came to the shove It's fight or flight, (pick from above) I stand my ground right through I won't back down to yoooouuuuuuuuuu I make mistakes, but I want you to show The loyalty I showed you (.c)Smash! Bang! Once you came in Katie what you're doing's all such a sin Knocked down! Don't get back up! What I'm doing here, it's not a hiccup Thump! Slap! Look at you bitch Head is spinning I don't know which way is which My dreams are shattered by you Yes my world was shattered by you Similar to (but a loooot sadder)



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genocidal king		#6 Posted : 01 June 2011 05:52:46(UTC)
Rank: Advanced Member Groups: Moderators, Registered Joined: 21/07/2009(UTC) Posts: 54,407 Location: Leeds, England Thanks: 3469 times Was thanked: 11549 time(s) in 5886 post(s)		9. Fade Away (feat Jenny Hudson) (3:47) Katie's comments Nearly at the end of the album now. This song is kind of the darkest moment of my life, but is actually one of my favourite songs on the album. It is one of the shorter ones, and it is also very musical, I mean it has long instrumental parts, as opposed to the hugely lyrical tracks that have come before it. I felt totally alone after the arm break, and this bit started after I was back home in London. I had tried to start the recording process for this album, but it had just not worked, and every time I came to the studio, I just left feeling worse and worse in my own mind. This song documents the lowest of all those moments. The moment when I felt, honestly, that someone was telling me to go out and hurt people...to make them feel as bad as Katie felt, and I have to admit, I was very close to letting it out. It's probably just as well that we have the internet, and that I was at home when the thoughts first arose to be honest. I lashed out on Twitter, everyone, yeah everyone sadly, saw the way I just launched myself at Miss Vanity, Nicole, Cassie, Mandy, anyone AND everyone who got in my way. I honestly think that if I had been face to any of them at any of those times, that I might have done them some harm, and that is really not what I wanted, ever. Believe me. Anyway, no worries, I feel better now. Because of the voice in my head, I felt it was important to have another female voice rather than mine in the song, so that it was easy to distinguish between me, and the voice telling me to cause people pain. Jenny Hudson stepped up to the plate, and I have to thank her for playing what is quite a strange part in my Katie opera here haha. It wasn't at all hard for her to pull off though, she did a magnificent job with the haunting tones that the song needed at that point, and she gave a simply outstanding performance. She also played the guitar part in it, which was cool as well. This one doesn't have as much guitar as other tracks, but what it does have, Jenny was top class at executing. So thanks again to her for all she did for me here. This song is also very exciting for me because it features some playing by me. Obviously I haven't picked up a guitar, because that's totally impossible, but I do play the main musical part of this song, which was played on grand piano. We got it to sound distant, and haunting, and I love how my music, my playing sounds. I'm just so happy that there is some of my musical skill in the album as well, you know? Anyway, I hope you like it! Track description The first music we hear is a very distant piano playing a fairly complex sounding, and very theatrical, yet still slow piece. As time passes, around 15 seconds, it is getting noticeably louder than it was, as it gradually fades in. After about 30 seconds, the music ends with a dainty flourish. A drummer using a brush on a hihat then counts four beats, and the piano begins again, but with a more haunting melody, slower than before, and not with the same theatrical performance that the last piece contained. It is very repetitive, but changes every so often to play the same repetition, but on a different scale on the piano. After three scale changes, Katie's voice comes in, sounding very sad and low, it is the lowest key we have heard Katie sing in yet, and it sounds so very sad. She sings verse (1) with only the piano in the background. Line one is sung very slowly, with an increasing key on every word, then line 2 is sung faster, and the tone decreases on every word. Line three is sung slower again, and with again, an increase in the tone along the way, before the last line is sung in a very low tone (for Katie), and quite quickly, before she holds the last note for a good few seconds. (b1)comes in straight off the end of verse (1) as Katie makes the first key change on the piano, and sings the first line quicker than the verse, before a piano interlude takes over for a few bars, and then she returns again with a very very slow second line. The piano then becomes louder again as it returns to the original key for about 10 seconds, and then moves to the third key, the highest of the lot. (c1) The chorus is sung in a very disjointed manner, signaling Katie's mental state in the song. The first half of line 1 is sung incredibly slow, before there is a noticeable break, and she sings the second half of the line and holds the last note for a long time, her voice wobbling a bit intentionally with the tears welling up. The second line takes the same vocal pattern, but is sung in a much lower key, until the last word when it returns to the same as the last word in the previous line. Verse (2) is sung in the same style as verse (1) exactly. (b2) Is sung and played in the same style as (b1) exactly. (c1) As above. The piano then plays a different style for a little while, returning to the original intro piece, whilst the ghostly voice sings "ohhhhh, and woooooaaahhh" over the top for around 30 seconds, and Katie can be heard to be whistling the tune from the verses in the very, very distant background. For verse (3) katie returns to playing the verse part of the piano piece, but this time Jenny Hudson is singing, and a constant, consistent drum beat plays, steadily and loudly in the background. This signals trouble, and change, as katie can hear a voice in her head, a voice that she doesn't even believe is coming from her. Jenny sings it in the same style as Katie sung previous verses though. (b3)As above, but with Jenny singing, and the drum beat increases in volume. (c2) As chorus (c1) but Katie whistles loudly in time to the melody of Jenny's vocals, which come through as haunting and distant, obviously playing heavily on the idea of it being in Katie's head. The whistling portrays Katie trying to ignore the voice in her head, and not listen to what it tells her to do. Verse (4) is sung in the same style as verse (3) except the music mutes totally on the last line, before kicking straight back in for the chorus. (c2) as above. The piano then plays the different style again for a while, returning to the original intro piece, whilst the ghostly voice sings "ohhhhh, and woooooaaahhh" over the top for around 30 seconds, and Katie can be heard to be whistling the tune from the verses in the very, very distant background. Verse (5) is very much slower than all that came before. Katie sings again. The lines are sung in a broken style, and very sadly. The music plays the same notes, on piano, but much slower and quieter, and the drums and whistling are gone again. (c1) as above. (c1) as above. The piano intro returns once more and plays for a while alone, before slowly fading to silence, save for the sound of soft sobbing. Lyrics (Jenny Hudson in bold) (1)Weight of a lonely world Is baring down on me My brain failed to take the mould This pain won’t let me free (b1)All these thoughts they swirl inside No answers in here I can find (c1)I played it out, this way My sane mind slips away (2)It’s my shame resting here, where You people just don’t care Confusion up in my head there In a dark place this ain’t fai (b2)My world back then was torn asunder No resolution I’m full of wonder (c1)I played it out, this way My sane mind slips away (n)Oooooooooooooh oooooooooohhhhhhhh Oooooooooohhhhh oooooooohhhhhhhhhhh (3)Scream and lash out Oh Katie girl they need to see How it hurts you now Don’t be afraid to show it to me (b3)You show them what it feels to know pain Don’t worry if they say your insane (c2)You’ll play it out, this way Your sane mind is regained (4)You want to hurt everyone And that’s alright with me We’ll justify what you’ve done Their pain will set us free (c2)You’ll play it out, this way Your sane mind is regained (n2)Oooooooooooooh oooooooooohhhhhhhh Oooooooooohhhhh oooooooohhhhhhhhhhh Wooooaaaaaaaaahhhh Woaaaaaahhhhhhhh Wooooaaaaaaaahhhhh Wooooooaaaaahhhhh (5)I slowly………. feel the weight I’m spiralling…….. deep again And you……….. can see my fate But no one ………..knows my pain I played it out, this way My sane mind slips away I played it out, this way My sane mind slips away Similar to (in the lyrical pattern and tone) 10. Less Than 3 (<3) (feat Scott Armstrong) (3:47) Katie's comments Are you ready for the totally poppiest song on the album? I hope so cos this is it! There really was no other way to end the album than this. The story comes to a close at last huh? I've gone from my beginnings in love, to playing in bars, touring, getting signed, falling in love, feeling rejected, getting broken, feeling crazy, and now this. The last track is a lot happier than the last few have been, and it's about my true true love for Nicole Woods! The song is a bit zany, and a bit silly, because I think that's how people perceive our relationship you know? This is the girl who beat Katie up, and now they're girlfriends! It does sound mad, I know that, Nicole knows that, but who can stand in the way of true love? Not even violence and "Shattered Dreams" I guess. The song is also really happy though, as well as crazy, because that's how I feel at the moment. Every day that passes with Nicole is just another wonderful array of summer time happiness for me. The song uses the title Less than Three, and I suppose I should explain for those that done know. Less than 3, or <3 is the symbol used on the internet to denote a love heart, so I thought it was a cool, cooky, interesting way to say love, rather than all the "ooohhhh baby, it's all roses and chocolates" like we normally see in pop music. I hope it works. People will get that, won't they? I hope I'm not gonna have to hang around everyone who listens to it and be like, so yeah.....do you know what less than three stands for? Hahahaha This really does round off the album as a whole for me as well. I've gone from happiness to deep deep depression, and I think it was important to come back up again at the end. It would be quite saddening to leave my debut on such a sad note, and I think it might leave people with the wrong idea about me. Don't get me wrong, I know for sure that I am totally crazy, I get that, but I don't want people to think that I am always down in the dumps and on the verge of murder hahaha. And finally, Mr Armstrong again. He did the two most upbeat songs on the album with me. It fitted his sunshine-y lovely personality brilliantly, and I couldn't have asked for more professionalism from anyone. He was wonderful to work with, and his guitar skills really bring out the sunny side of this track. Thank you once last time to him. And that's it for the album, I hope you all like it, and I hope the story all makes sense. Much love. xox Track description The song starts with a happy type guitar riff on acoustic, accompanied by a tapping drum beat, played on the rim of the snare drum instead of the skin. Verse (1) comes in just as the guitar stops playing its chords. The words as sung quite slowly, but with a very sunny tone, very happy, and very light and airy. Katie's accent (London) also shines through quite obviously as she sings the verse, which is accompanied by a very quiet and indistinct drum beat, it can barely be heard, and the occasional bass note, as the bass guitar plays a soft, and reasonably high for a bass guitar, line which acts as the counter melody to the vocals melody. Between (1) and (2) there is a quick, flashy but still quite reserved drum fill, and verse (2) is sung in the same tone, but with a voice which seems to exhude more confidence and self belief. It is louder and more vibrant. The music stays the same, except for the drum part also playing a little louder After the verse (2) Katie whistles the last few lines of the verse again, to break it up, accompanied by the original guitar part again from the intro, as well as the bass line and drums. (.c) The music in its entirety stops as Katie half shouts "Cos baby tell me" and rejoins her on the "Is it 1 or 2", all instruments play, and a keyboard can also be heard in the chorus as well, playing little snazzy notes in the background, nothing to noticeable. There is a break at the end of line one, where the guitar does a happy little finger picking bit, and again at the end of line 2, but lines 3 and 4 are sung a lot faster, and they flow straight into each other. The music stops again as she half shouts "I'm excited when you", but not with quite the same vigour as above...and the music all rejoins as the rest of the chorus pans out pretty much the same as the first section. The only difference is that she really emphasises each of the words in the very last line, which is accompanied by a second guitar, playing a very defined note at the start of each word to add definition to what Katie is saying. The bass line is the only thing remaining after the chorus as it plays a few bars on its own, before the vocals rejoin. Verse (4) returns to the similar style as verse (1). It is sung softly, and accompanied only by the bass, and the very quiet drums. At the end of "1 plus 1 makes 2 that's we" we can hear Katie making a kissing noise and giggling a little. The drum fill plays, louder than before, but still flashy and it still fits in. Verse (5) comes in with more instruments than all of the other verses. Katie whistles in the background of her own singing as well, in time to each word she says. The last two lines are sung with real definition, and she really puts a lot of her heart into every word, which comes across strongly. The verse ends with her laughing again. Before the chorus she whistles the last few lines of the verse again, along to the drums only. (.c) As above (.b) the bridge is sung with only the keyboard for company. Katie's voice is more subdued and very quiet, almost sounding sad. The first two lines are almost whispered, and spoken as opposed to being sung. The next two lines are louder however, and sung rather than spoken, and she hangs on the last word for a couple of seconds The bridge goes straight into the chorus (.c), which has a key change at the start of it. The first two lines are sung in a lot higher key than the previous choruses, before it returns to normal for the remainder. (b) the album finishes with Katie singing the first two lines of the bridge, with no musical accompaniment, and very slowly. She laughs as she finishes the line, and as the album fades we hear her voice one last time, happily saying, "Fank you, byebye now!" Lyrics (1)Remember we had a friendly thing And then it quickly changed Delivering me a battering I had no mind to run away (2)But then you got over your violence You came to me one night Someone had to break the silence Oh yeah, you kissed away my fright (.c)Cos baby tell me… is it 1 or 2? Just rate your love for me It must be one of those numbers If it’s less than 3 Though they might say it’s madness I’m devoid of all sadness When I have you next to me I’m excited when you Tweet your love for me You let the whole world see That this is less than 3 Even days when we wake up And I have no make up You still stay right next to me (4)I really don’t like when people say That we have is all crazy Show them how we wave them away Cos 1 plus 1 makes 2 that’s we (5)I really just loved that way you smiled When you made this fun It’s funny how a sinner is totally forgiven When you’re wrestling with their tongue (.c)Cos baby tell me… is it 1 or 2? Just rate your love for me It must be one of those numbers If it’s less than 3 Though they might say it’s madness I’m devoid of all sadness When I have you next to me I’m excited when you Tweet your love for me You let the whole world see That this is less than 3 Even days when we wake up And I have no make up You still stay right next to me (.b)A dream that we were home again You won’t leave me, you won’t leave me I make my move and steal a kiss You were easy, you were easy (.c)Cos baby tell me… is it 1 or 2? Just rate your love for me It must be one of those numbers If it’s less than 3 Though they might say it’s madness I’m devoid of all sadness When I have you next to me I’m excited when you Tweet your love for me You let the whole world see Oh babe it’s less than 3 Even days when we wake up And I have no make up You still stay right next to me (b)I dream that you are home again You won’t leave me, you won’t leave me Similar to OOC: So there it is. Ta-da and all that jazz. Thankyouplease :)



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PANIC!		#7 Posted : 01 June 2011 06:14:30(UTC)
Rank: Advanced Member Groups: Registered Joined: 13/02/2009(UTC) Posts: 5,333 Thanks: 3400 times Was thanked: 2795 time(s) in 1027 post(s)		Ryan Ross Hernandez: "I was finally able to give the album a full listen, and I must say that for the most part, I enjoyed it quite a lot. It felt like an emotional roller coaster at times, and I like that in a record. I have a very brooding approach when writing music, so when I listen to other people's music I tend to enjoy more the sadder tone songs. That's why I'd say my personal favorites is that trio of songs in the middle of the record made up of Intravenous, Naked on Paper, and Invanity. All in all, I thought it was a great record. And I'd even go as far as saying it's the best album so far this year." (OOC: What can I say? All through out it was a great read. I give you much props for giving such detailed descriptions with lyrics to boot.)



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genocidal king		#8 Posted : 01 June 2011 06:24:20(UTC)
Rank: Advanced Member Groups: Moderators, Registered Joined: 21/07/2009(UTC) Posts: 54,407 Location: Leeds, England Thanks: 3469 times Was thanked: 11549 time(s) in 5886 post(s)		Katie: thank you Ryan. It means a lot to hear positive words from a star like you! I agree that sadder songs are better, for the most part, it's normally my forte. Intravenous and Invanity make up my favourite part as well. Thank you again. It's awesome to know you like it. And best album of the year? Wow, what? Really? OMG!! Ooc: Thanks man, this was bloody hard work, lol, believe me on that. It might be a while til I attempt something this all encompassing (read as "self important" lol) again. I'm happy I did it though.



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GirlSpice		#9 Posted : 01 June 2011 06:30:41(UTC)
Rank: Advanced Member Groups: Moderators, Registered Joined: 11/02/2009(UTC) Posts: 9,033 Thanks: 5178 times Was thanked: 7399 time(s) in 2464 post(s)		Glamazon: Sugar, you've poured your heart and soul into this record and that's what really brings the quality of music to that next level. I've enjoyed every song and I wish you the best of luck with what this era has to bring you! Can't wait to tour with you by the way. ;) OOC: Amazing work with the lyrics and the track descriptions, you managed to really stay consistent with it all, great job!
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DistortedAudio		#10 Posted : 01 June 2011 06:33:49(UTC)
Rank: Advanced Member Groups: Registered Joined: 20/08/2010(UTC) Posts: 5,694 Thanks: 1990 times Was thanked: 1784 time(s) in 975 post(s)		Paul: I can already tell that in the future, people will be talking about this album as something that shaped Pop and Music for the years to come. It scares me that my band will be supporting you on the tour... OOC: It really does scare me haha. Hopefully my Tour RPs are up to par with your stuff. Now as for the album, basically Paul said everything I really wanted to say. The way you did the lyrics and sound description will probably pave the way for the next generation of RSG RPers. Clap-Clap.
		I feel numb, born with a weak heart I guess I must be having fun EARN BY WORKING LIKE A DOG SPEND LIKE ROYALTY
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Laurelles1		#11 Posted : 01 June 2011 06:44:44(UTC)
Rank: Advanced Member Groups: Moderators, Registered Joined: 09/11/2009(UTC) Posts: 8,329 Location: Floating about on an iceberg somewhere Thanks: 436 times Was thanked: 407 time(s) in 288 post(s)		Jason: This is seriously a breath of fresh air in the music industry. It's an amazing album and one that, in time, I'm sure will be regarded as a true classic. I really, really can't wait to see what happens from here. If this is only your debut, you could become a musical legend in due time.
		Awards (stroking myself and thinking I'm superior): @Chaos awards: Best Band - Mind Best Album - Shattered Fairytale by Mind Technical Ecstasy - Jason Smith (x3) Best Solo Male - Jason Smith Birdies: Best Producer - Jason Smith
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infinite135		#12 Posted : 01 June 2011 07:12:08(UTC)
Rank: Advanced Member Groups: Registered Joined: 23/02/2010(UTC) Posts: 1,909 Location: Zoo Station Thanks: 293 times Was thanked: 328 time(s) in 157 post(s)		I think it's phenomenal that this is just a debut album. Most artists can't even make something this lovely and matured on their fourth or fifth effort, and you're already on this level from the very beginning. I cannot wait to see how you develop as a songwriter. -Eric Quillington OOC: This puts everything I've done with Track-by-Track descriptions to shame. You did an amazing job with this, man!
		Kid Anything- Indie/Britpop/Shoegaze; influenced by Sigur Ros, XXYYXX, Kanye West, Blur, Oasis (Bringing together an eclectic group of influences, Ulysses' songs are sung with carefree abandon by Nick Junk) Kurt Ulysses - Songwriter, Guitarist, Backup Vocalist Nick Junk - Vocals, Mojo Infinite- Alternative/Experimental Rock; influenced by Muse, Radiohead, and The Beatles (Known best for their experimental music and their frontman's eccentric behavior, the band disbanded after Eric Quillington's death to pursue solo careers or, in Matt Robert's case, peace of mind. Infinite released four albums over the course of their career; Blue Nebula, Midnight Skies, Insomnia, and Dancing about Architecture.) Eric Quillington (Deceased) - Lead Vocals, Lead Guitar, Piano, Primary Lyricist Matt Roberts - Bass Greg Oldson - Drums, Backup Vocals, Secondary Lyricist Amelia Florentine - Keyboards, Piano, Lyricist, Backup Vocals "When asked 'how do you write?' I invariably answer, 'one word at a time', and this answer is invariably dismissed. But that's all it is. It sounds too simple to be true, but consider the Great Wall of China, if you will: one stone at a time, man. That's all. One stone at a time. But I've read you can see that motherfucker from space without a telescope." - Stephen King


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genocidal king		#13 Posted : 01 June 2011 08:19:59(UTC)
Rank: Advanced Member Groups: Moderators, Registered Joined: 21/07/2009(UTC) Posts: 54,407 Location: Leeds, England Thanks: 3469 times Was thanked: 11549 time(s) in 5886 post(s)		Originally Posted by: GirlSpice Glamazon: Sugar, you've poured your heart and soul into this record and that's what really brings the quality of music to that next level. I've enjoyed every song and I wish you the best of luck with what this era has to bring you! Can't wait to tour with you by the way. ;) OOC: Amazing work with the lyrics and the track descriptions, you managed to really stay consistent with it all, great job! Katie: Thank you Glama, yeah, this is really the true feelings of Katie, maybe that woulda made a better title actually. And that's all it is, my raw, pure emotion. I hope some more interesting stuff happens before my next album is due! hahaha Im glad you enjoyed the record though, seriously I am, you are my total favourite of all time! I can't wait to tour with you too, I warn you though, I will be starstruck to the max for a while :s OOC: Thanks, that means a lot :). I think there was a peak in the middle when I read it back, but if you think it stayed consistent then I'm happy with that :p Yeah it was hard to keep going some times, but I'm glad I did it now lol, glad you liked it :D Originally Posted by: DistortedAudio Paul: I can already tell that in the future, people will be talking about this album as something that shaped Pop and Music for the years to come. It scares me that my band will be supporting you on the tour... OOC: It really does scare me haha. Hopefully my Tour RPs are up to par with your stuff. Now as for the album, basically Paul said everything I really wanted to say. The way you did the lyrics and sound description will probably pave the way for the next generation of RSG RPers. Clap-Clap. Katie: OMG Paul for real! Wow I can't believe you'd say that! That is awesome, really it is! I hope people just talk about it now to be honest haha! Why would you be scared? We're all relative noobs in this together haha. You are getting MEGA hugs for being so kind about my CD tomorrow though! OOC: lol thanks dude. I'm sure your tour RP will be awesome. Wow, if anyone took anything inspiration wise for how to do a track by track from this, I'd be ecstatic. I just wanted to try something a little different, and if it caught on, that'd be awesome. Originally Posted by: Laurelles1 Jason: This is seriously a breath of fresh air in the music industry. It's an amazing album and one that, in time, I'm sure will be regarded as a true classic. I really, really can't wait to see what happens from here. If this is only your debut, you could become a musical legend in due time. Katie: Thank you so much Jason. You're like a massive star, so the fact that you even listened to this is beyond everything I set out to do, and more. Awww you're so nice, if people even remember it in years to come I'll be happy. A legend? Me? Nah, I'm just Katie, doing what I do :) Originally Posted by: infinite135 I think it's phenomenal that this is just a debut album. Most artists can't even make something this lovely and matured on their fourth or fifth effort, and you're already on this level from the very beginning. I cannot wait to see how you develop as a songwriter. -Eric Quillington OOC: This puts everything I've done with Track-by-Track descriptions to shame. You did an amazing job with this, man! Katie: I'm shocked. Eric Quillington likes my album! It's awesome to hear that you like it! You and Glama can play it on your next date hehehe. I'm so glad it sounds mature to you. I've been jobbing about and building to this for a while, so I'm delighted it comes across as more than a debut. I'm proud of it! OOC: Thanks man, as Katie says, I'm proud of how this turned out. I had to try and do something to cement a character in, cos I've struggled to keep them going since Blood of Wecz tbh, this should hold Katie for a while though lol. But nah, your track by tracks are awesome as well dude, there's a reason why Insomnia wins best album awards, and gets number one in the charts and stuff. Thanks again to all you guys. So glad you took time out to read it, as it was long, and indulge my self important ramblings. :)



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genocidal king		#14 Posted : 01 June 2011 22:05:35(UTC)
Rank: Advanced Member Groups: Moderators, Registered Joined: 21/07/2009(UTC) Posts: 54,407 Location: Leeds, England Thanks: 3469 times Was thanked: 11549 time(s) in 5886 post(s)		Katie: I'll be looking for you guys to help me decide what the next single should be from RCaOLS, and it'd be great to know which songs are your faves! xox



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genocidal king		#15 Posted : 02 June 2011 04:27:53(UTC)
Rank: Advanced Member Groups: Moderators, Registered Joined: 21/07/2009(UTC) Posts: 54,407 Location: Leeds, England Thanks: 3469 times Was thanked: 11549 time(s) in 5886 post(s)		Vote now guys! Tell me which of my tracks should be my next single. Just name your fave :D -Katiekins xox



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BrownSugar		#16 Posted : 02 June 2011 04:37:24(UTC)
Rank: Advanced Member Groups: Moderators, Registered Joined: 18/02/2011(UTC) Posts: 27,982 Location: In between the couch cushions Thanks: 11379 times Was thanked: 19569 time(s) in 7800 post(s)		Desiree Shapiro: I'd love "Shattered Dreams" to be released. Edited by user 02 June 2011 04:38:03(UTC) \| Reason: Not specified
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RoseJapanFan		#17 Posted : 02 June 2011 04:44:48(UTC)
Rank: Advanced Member Groups: Moderators, Registered Joined: 24/08/2009(UTC) Posts: 45,471 Location: ククルー=マウンテン Thanks: 21355 times Was thanked: 14999 time(s) in 6774 post(s)		Lily: I also like Shattered Dreams :)
		Do you like reading reviews on anime? Manga? Games? Do you wanna support a fellow black nerd? Then click above. Isabel-Pixie-Nova-Jennifer Armstrong-Dylan Shaw-Eden Pryce-Taara Jay-Jupiter Jones-Imani Kato-Eilidh-Nothing But Trouble-Hayden-Serenity Scott-Anaísz-Kimi Kubo "My God! We truly are a talented bunch. The fact that we write entire albums all on our own while the biggest stars in the world have 45 co-writers on ONE track?? Where the hell are OUR record deals and GRAMMYS?" -BrownSugar
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bikz		#18 Posted : 02 June 2011 05:17:45(UTC)
Rank: Advanced Member Groups: Moderators, Registered Joined: 11/02/2009(UTC) Posts: 6,039 Location: Bikiribati Thanks: 129 times Was thanked: 94 time(s) in 78 post(s)		I'd pick "Lust And Cigarettes" or "Fade Away". -Bikki x
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genocidal king		#19 Posted : 02 June 2011 06:19:23(UTC)
Rank: Advanced Member Groups: Moderators, Registered Joined: 21/07/2009(UTC) Posts: 54,407 Location: Leeds, England Thanks: 3469 times Was thanked: 11549 time(s) in 5886 post(s)		Katie: thanks for the votes girls :D anyone else?



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Realms Of Darkness		#20 Posted : 02 June 2011 06:49:37(UTC)
Rank: Advanced Member Groups: Registered Joined: 06/02/2011(UTC) Posts: 1,319 Location: Buenos Aires Thanks: 2361 times Was thanked: 961 time(s) in 386 post(s)		OOC: Great Track-By-Track man! You did an awesome job!
		UNVEIL THE DARK MYTHOS! Mythos, the successor of the #1 album The Arcanum Circle OUT NOW! Available through Kaleidoscope Records! Click on the banner! WELCOME TO THE JOURNEY! A Journey Through The Innermost, the debut album Bill Owens' prog-metal act OUT NOW! Available through Songs To Love And Die By! Click on the banner! __________________________________________________________________________ My Artists: The Enlightened \|\| Aeons \|\| Bill Owens Other: REVER MUSIC STUDIOS The World's best recording studios!


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