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11. Bite the Bullet (5:08) (Art Rock/ Indie Pop)Immediately, you hear a guitar play a singular note over and over again relatively quickly for a few seconds. Soon after this, a relaxed falsetto vocal by Jason alongside some deeply mixed low synths comes into the song. As soon as the vocals come in, the guitar switches to a dark, yet strangely upbeat melody, which is simple, but extremely effective. As Jason sings these lyrics in his falsetto, you can very faintly here another vocal track of him harmonising with a low pitch baritone, although it’s not clearly audible. This carries on for a quite a while, building up atmosphere and ambience in the background, with most of the track focused primarily on the lyrics of the song. After the first couple of verses, a drum beat, somewhat resembling a relatively slow march, enters the fray, as do some symphonic elements, although they are downplayed and not extremely noticeable. Another guitar layer is added on top of it, in the same key and with the same feel as the main melody, but slightly different in that there are only two notes. A simplistic bass guitar is also added at this point. Once all the instruments have been added into the song, Jason continues singing his falsetto, alongside other vocal tracks of harmonised falsetto, tenor and baritones. The music gets gradually louder and louder, with more unorthodox instruments like flutes, harps and accordions being added in playing similar melodies until it reaches a symphony of different sounds. After another verse, all the sounds boil back down into the simple acoustic guitar that was there at the beginning. Jason continues singing in the same melody, before all the instruments are reintroduced, with a slightly faster marching beat now in the song. There is also slightly more ambience than there was before, making it somewhat resemble Sigur Ros. One more verse of the song is sung, before it all slowly fades back into the guitar and Jason singing, except there isn’t any ambience anymore, it is just a lo-fi recording of Jason and a guitar, so as to give the song a more “pure” and “natural” sound. Once all the lyrics have been completed, both Jason and the guitar finish, and it fades into relatively loud ambience. A continuous drone of whale noises, radio broadcasts, synths and chatter go on for roughly 30 seconds, before everything cuts to a close. It was only in my dreams that that I thought I could save you,
My feelings were all there for you to misconstrue,
And I told you “there’s no point, because we are all dying”,
The leaves were falling round me and the wind was sighing,
I turned around and walked until my feet were bleeding,
Took shelter in my mind where my emotions were receding,
But no one ever forced you to look out for me,
The rain eventually fell back into the sea.
You toss and you turn, it was only a nightmare,
You’re crying in your bed, it’s a pitiful sight, well,
I wanted you to know I’ll always be there for you,
Cos in the end it’s always just us two,
And I too miss the comfort and conformity,
I’m the one to blame, babe, I’m really sorry,
But sorrow isn’t as good a healer as time,
And sorrow won’t guarantee that you’ll be mine,
Again, I ask of you “do you still love me?”,
And during the taking of breath, I wallow in pity,
I wait for an answer, my heart starts pounding,
I’m beginning to wonder how my words are sounding,
To you, you reply, and it begins again,
I cry and you cry, and we shake our heads,
We shake each other, trying to make each other understand,
Why this could never be more than a line in the sand.
I bite the bullet, you claw and you gnash your teeth,
At my soul all chewed up, and glazed over with grief,
We’ll look back on this, it’ll all come to haunt us,
Our demons at the door all constantly taunt us,
But we’re too good for them, we’re too good for mistakes,
We’re too good to bother cleaning the mess that we made,
Too good for love, we’re too good for lying,
We’ve always been too good, even though we’re dying.
The past is the past, the present is merely a footnote,
The future is the boring prose that I wrote,
I swear that I always will be watching out for you,
No one else anymore, it’s just us two.Jason: “Out of all the songs on the album, I’d say that this one is probably the one that means the most to me. It is probably the centrepiece of the album, maybe even more so that the final song. It just encompasses all the attributes of the album in one song; it’s very lyrically dense and heartfelt, the instrumentation is catchy, melancholic and melodic and it has that faint trace of ambience and beauty. I’m pretty certain that this is gonna be a fan favourite, anyway. Even counting Mind songs, I would say that this is one of the best songs I’ve ever written as well, because it actually worked out the exact way I wanted it to. Another reason why it stands out is because it’s the only song on the album where I recorded literally all of the instruments, even the drums and all the weird instruments that build up towards the end, which is a great source of pride for me. Of course, there’s a reason why it’s so lyrically dense... I wrote it over the course of 3 days and it really sums up my feelings at that point. I was lonely, depressed, and unsure of my future. I also touch upon the fact that I felt that I was better off alone; I didn’t deserve anyone to look out for me. I think that this is probably the most direct song in terms of emotion. I definitely wear my heart on my sleeve hear and this song goes into detail about the themes of love and loss. Although the lyrics may look like they’re getting happier towards the end, I wrote them with a deliberate sense of false optimism and arrogance. It’s a very dark song, actually, despite the fact it’s one of the poppiest on the album.” SOUNDS LIKE:
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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   |
