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Offline snap_itshannah  
#1 Posted : 05 September 2013 02:21:59(UTC)
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ALBUM TITLE: Lover's Eyes
ARTIST: Vara Gallo
GENRE: Synthpop, dark cabaret, alternative
LABEL: Titanic Records



Vara Gallo puts the human in inhuman. Her Alice in Wonderland inspired album is what brings stories to life. She's one of the best at inserting genuine emotion into what, in the hands of lesser artists, would otherwise hit the eardrums as soulless bleeps and bloops. This is the challenge she faces with every song she releases. Her first album was released after two successful singles in that regard, but at what cost of originality? In the end, Lover's Eyes is really just three stitched-together pieces of a story - 1.)the Rabbit Hole, 2.) Wonderland, and 3.) back again - to create a living, breathing, albeit disjointed story. The following is a breakdown of what happened after Vara Gallo went down the rabbit hole.

1. The Soul (Tracks One - Seven)

The chief complaint against Lover's Eyes is not quality control, but the dangers of sound repetition. Vara Gallo's first album Hoes and Bitches was only just released last year, so the placement of her old sound - plus the placement of the three singles that Vara Gallo has already released from this album - is puzzling. The frustration of recurrent sounds aside, the tracks are among the strongest in this otherwise new collection, and the resulting album is clearly based around those songs. Two lays to waste any lingering notions that Vara Gallo is just another pretty face with a studio card. She provides a softer kind of sensuality on these tracks that nobody in the genre could ever duplicate. Relationship fears that we all know ("It's time for the crying to stop / Because I love you") wade atop the low, throbbing acid techno sound that Gallo seems to have mastered long ago.

Five is the best of the entire bunch. It has an alternative rock song feel, but torn apart with a deep post-industrial bass line, with trip hop effects quietly building in the background, somehow illuminating and shadowing Gallo's vocals simultaneously. It stands apart from Vara Gallo's brethren in the electronica genre - but without sacrificing the sense of unease that seeps through Gallo's work. Lyrics like: "You're so damn desired / And me, well, I don't feel the same / I'm in the shadow / On the ground that I've found you / So don't come to me to complain." It has the sounds of an experimental band murdering an ambient song, or like - of course - falling down the fabled Rabbit Hole. The mixture of confusion, fascination, and fear.

2. Wonderland (Tracks Eight - Fourteen)

The never-before-released tracks make up the body of the record, but don't gel as well together as the other songs do - the disjointedness giving us another feeling of confusion, but fascination. Eight - which is also one of the songs that Vara Gallo released as a single before she released the album - features the repetitive, whiny phrase, "Only I can be my own / Odd sacrifice," the lyrics seeming to almost echo throughout the perfectly constructed verses. As far as the previous claim of repetition in sound, look not further than Eleven, where the sound almost completely echoes that of Hoes and Bitches' title song. Nine is really more a slightly synthpop version of Vara Gallo's older song I Don't Know Yet, with the chorus, "Why do we cry / When there's no more goodbyes? / Don't want to get left behind / don't want to be the voice inside."

Two tracks keep this section of the album in motion the most. Twelve - also one of the singles released before hand - with Gallo's vocals slowly overcoming the stabbing alternative rock beat and the relentless waves of trip-hop type effects, finally reaching through the noise, screaming, "Cover me in ecstasy." The second is Thirteen, which features the line, "You bury yourself with that shovel by your side / Seems to be a better comfort / Than a lover's eyes," which is what the title of the album is from. While the song may also sound familiar from past Vara Gallo days, it's one of the rare time when Gallo has a chance to let it out, as she practically howls all of her verses.

3. Back Again (Tracks Fifteen - Nineteen)

At the end of the day, no matter who tries to insult Vara Gallo for the repetition of sound in her songs, it's usually all Vara. Eighteen is the exception to the fact, as Mariko Kobayashi - who has a very well documented friendship with Vara Gallo - is featured on this track, singing with Vara to continue making this album sound absolutely great. As the final tracks come into play, you won't find many complaints about any of the sound in them. Gallo is just about infallible when it comes to making albums just sound great, and these final five tracks as prime examples.

The album finally breaks free from its instrumental rock tempo state with Fifteen, easily one of the poppiest songs on the album. It's trip-hop, fast-but-not-furious guitar melodies sound like Gallo's update version of a mid-80s film/TV score. The song warrants a lengthy time, but evaporates at just the right moment. These ending tracks rely 90% on their lyrics and beat, skimping on any real instrumentation, as if the songs were sequenced together as a closing argument for the validity of the album.

Lover's Eyes is a electronica marvel, just as everything else Vara Gallo is on becomes, even if its unintentional reprisals of Gallo's earlier work may hamper it from a critical standpoint. Reusing old parts of Gallo's imaginative mind may not end the story she's trying to tell with Lover's Eyes happily, but it does warrant itself a place in your heart because of its possession of a story. In a world of music so devoid of such a concept, no matter how ugly and scary the story may be, any story is welcome.



Varanese Gallo - vocals
Stephen Barnard - guitars
Victor Blackman - keyboards
George Davis - bass
Kenneth Lynch - drumming
Manuel Johnson, Chris Johnson - additional keyboards
Christopher Willis, Mike Levin, Sandra Collins, Joseph Langley - mixing



One (3:51)
Two (5:06)
Three (4:54)
Four (1:54)
Five (4:03)
Six (3:49)
Seven (5:46)
Eight (3:45)
Nine (5:01)
Ten (3:08)
Eleven (7:31)
Twelve (2:56)
Thirteen (3:09)
Fourteen (8:50)
Fifteen (2:47)
Sixteen (4:23)
Seventeen (4:05)
Eighteen (feat. Mariko Kobayashi) (4:30)
Nineteen (3:53)

Edited by user 05 September 2013 03:07:51(UTC)  | Reason: Not specified

thanks 7 users thanked snap_itshannah for this useful post.
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Offline erich hess  
#2 Posted : 05 September 2013 02:34:09(UTC)
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Erich: I will be honest. I HATE electronica. It is cold,impersonal and maniacally perfect in its execution. But,vara does it right. You can tell there is a person behind it all. A person with more to say than just " this beat sounds good, go with it!"

Mariko: vara and I hang out frequently,but working with her? An entirely new thing. It was weird at first. It was intimate,and I felt I should avert my eyes. If was super fun and I think it turned out great! Yay! I am successful.....just not on my own records.
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"I'm not saying its even a good thing to own a chimpanzee. But that's freedom, folks." Alex Jones.
Offline snap_itshannah  
#3 Posted : 05 September 2013 02:41:38(UTC)
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Quote:
Erich: I will be honest. I HATE electronica. It is cold,impersonal and maniacally perfect in its execution. But,vara does it right. You can tell there is a person behind it all. A person with more to say than just " this beat sounds good, go with it!"

Mariko: vara and I hang out frequently,but working with her? An entirely new thing. It was weird at first. It was intimate,and I felt I should avert my eyes. If was super fun and I think it turned out great! Yay! I am successful.....just not on my own records.


Vara: Both of you are way too sweet to little Vara. :) thank you. Love you, Mariko. Mwah!
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Offline niggajones  
#4 Posted : 05 September 2013 12:37:28(UTC)
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Trent: Darkly beautiful, esoteric, and wonderfully chaotic, just like the woman who wrought it ;) Great job, love you babe.
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Offline snap_itshannah  
#5 Posted : 05 September 2013 12:39:39(UTC)
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Trent: Darkly beautiful, esoteric, and wonderfully chaotic, just like the woman who wrought it ;) Great job, love you babe.


Vara: Oh, Trent, my love. That is the sweetest thing you could have ever said to me. :) Thank you, darling. I love you, too.
Offline snap_itshannah  
#6 Posted : 06 September 2013 01:46:48(UTC)
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TITLE: One
BY: Varanese Gallo
LENGTH: 3:51
GENRE: Synthpop, dark cabaret, alternative rock
LABEL: Titanic Records


One is the first track and the first single off of Vara Gallo's upcoming sophomore album Lover's Eyes. All of the sixteen tracks on the album, plus the three bonus tracks, are numbered One, Two, Three and so on. Vara Gallo explained, when questioned about it, that she wanted to separate her interpretation of her songs from the interpretation of her audience. She felt that the best way to do just that was to take away her song's names, making it to where the listener has call upon their own opinion of the song, and give it their own name accordingly.

Vara Gallo pulled a lot of inspiration for this album from many different places, the most obvious one being her own life. Gallo has been dating Trent d'Amoure -- the front man of Shadowmachine -- for the past few months; this was a surprising development in Gallo's personal life, since she had always seemed to be a "free spirit" and "very sexually liberated," according to her fans. Her settling down with just one person came as a shock to many. Of course, there are always the rumors that perhaps she hasn't settled down just yet: During the No Venues Tour, which Trent d'Amoure was taking part in, Vara Gallo and Mariko Kobayashi -- famed for her ridiculously violent stage shows and being the cousin of Erica Kobayashi -- were reportedly seen engaging in openly sexual acts in a bar in Japan during one of the last dates of the tour. Gallo's new development of attaining a boyfriend was soon overshadowed by the fact that Trent d'Amoure's past drug addiction was rearing it's ugly head again as d'Amoure passed out on stage many times during the No Venues Tour, and was later taken to the hospital, where Gallo joined him and stayed with him for the remainder of the tour.

Although Gallo and Mariko Kobayashi seem like great friends - or more than friends, possibly - now, they were not such great of friends to begin with. Vara Gallo openly blamed Mariko Kobayashi for d'Amoure's relapse for a long time before they became friends. So let's count all the things that Vara Gallo has learned since her last album, which did exceedingly well and still is: Love, addiction, hate, friendship, maybe some tail on the side? That's obviously enough to write a whole album on. But Vara goes on.

She also took a lot of inspiration from one of Vara Gallo's favorite books: Alice in Wonderland. Vara has admitted before that she did horribly in school when she was growing up in Italy, especially in English class, stating that it was truly a miracle that she was able to hold a conversation, much less sing, in English. The one thing that made her want to learn English more than ever is the front cover of Alice in Wonderland in her father's library. "It's always been my favorite book. If you really think about it, I have basically my whole career thanks to Lewis Carroll." For something so big in her life, Vara felt that she needed to write an album about her own adventures in her own personal Wonderland, using many slight references to it throughout her songs.

It wouldn't be obvious if you didn't know that Vara had dedicated a few of her songs to Alice in Wonderland, but she starts out her first song with a pretty simple reference to it: She has "tripped to the other side," or, "fallen into a wish of the other side." Much like Alice wishing for a more exciting place, Vara to wishes to be somewhere else. Different from Alice, however, Vara wishes to be with somebody else rather than alone in this new place she wishes for. She reaches out for the person she is addressing, apologizing to them for not being able to tell them exactly what she wants in her new, different world, and apologizing for them not being able to read her mind. In her very Vara Gallo way, she then states that if this person walked away from her because she isn't able to explain to them what she wants, she wouldn't chase after him - such as the way Alice chased about the White Rabbit. She would stay, but would regret it, probably as Alice would have had she not gone down the rabbit hole and seen what this other world could be like. "You're my temptation, you're my perfection / But you don't understand" states perfectly Vara/Alice's hesitation to take that plunge into the mysterious, but seductive unknown. At the end of the song, she realizes that even though it might not be the right decision, she's going to take that plunge.

The beat of the song is a very dark, dance-pop sort of song; the indecision of Vara/Alice and the unknown being very evident. It was an interesting choice for a first song, as not only is it a darker song, but it also throws you immediately into the story that Vara is trying to tell with her album rather than ease you into it.


I've tripped to the other side
I've fallen into a wish of the other side
Don't know if you can read my mind
But I think not
I'll throw it
Oh, I think I, I mind
I don't mean to be so shy
But I don't know what to do this time
It could be lost, it could be alive
As you walk away
I think I'll stay
Might not be the one for me
But I'm thinking, oh so constantly
Might be right
You might be wrong
You're my temptation, you're my perfection
But you don't understand

Might not be the one for me

Let's try it anyway
I won't walk away


SOUNDS LIKE:
IAMX - After Every Party, I Die

Edited by user 06 September 2013 01:48:20(UTC)  | Reason: Not specified

thanks 8 users thanked snap_itshannah for this useful post.
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Offline kandii  
#7 Posted : 06 September 2013 01:53:26(UTC)
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OOC : I haven't seen the other tracks on this album , but this is definitely my favorite song from all of your characters . That and Like Snakes . Really great lyrics and your RP's are always on point lol . Just had to say that if I didn't already .
Offline snap_itshannah  
#8 Posted : 06 September 2013 01:57:32(UTC)
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OOC : I haven't seen the other tracks on this album , but this is definitely my favorite song from all of your characters . That and Like Snakes . Really great lyrics and your RP's are always on point lol . Just had to say that if I didn't already .



OOC: Oh, thank you so much! :) You're so sweet.
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Offline AmyJayneXoX  
#9 Posted : 06 September 2013 02:31:16(UTC)
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Amy-Jayne: Loving the originality of the titles but I can't wait to buy this

OOC - great job, can't wait to see all the tracks, keep it up hun :)
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Offline snap_itshannah  
#10 Posted : 06 September 2013 12:10:06(UTC)
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Amy-Jayne: Loving the originality of the titles but I can't wait to buy this

OOC - great job, can't wait to see all the tracks, keep it up hun :)


Vara: Yeah, numbers are super original, sweetie. ;) mwah mwah, love you, call me.

OOC: Thank you so much. :)
Offline snap_itshannah  
#11 Posted : 06 September 2013 13:08:57(UTC)
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TITLE: Two
BY: Varanese Gallo
LENGTH: 5:06
GENRE: Acid techno, jazz, ambient, drum and bass, breakbeat, IDM
LABEL: Titanic Records


The low buzz of One follows us into Two as the song starts with unclear, highly altered speech over that same single line of buzz until the beat starts. The alteration to Gallo's voice is tuned down to the point that she can recognize that it is Vara Gallo's voice, but still altered enough to sound distant and almost robotic. The beat is quick, low, and chaotic, not having one set rhythm, but rather finding itself all over the place as Vara's voice stays at a steady pace throughout the song. In the third verse, right after "It's a bad dream," is sung the second time, a high piano note is played three times, matching "A bad dream" which each note. Suddenly, the low beat completely fizzles out, leaving a more high pitched, upbeat rhythm behind. Vara Gallo's voice is still very highly altered, but instead of the low voice that she once had, it now matches the melody of the song, becoming very high pitched and almost cartoon like. This same melody goes on until the song finds itself in between the verses ending with "A bad dream," and starting with, "Screaming from a voice inside." As Gallo sings "dream" the music seems to slow down, as if in slow motion, stretching her word out until it sounds like a high pitch scream in pain. Suddenly, it cuts out - like the song is over. But then, just as quickly as it had ended, it starts back up again, this time with the same sort of upbeat melody, but the beat much much quicker. The song seems to be trying to combine the low, quick, chaotic melody with this now high-pitched and upbeat one. This combination makes the whole song much much more chaotic as it seems that the whole song is about to fall apart - random sounds playing when they aren't needed, quickened tempos for short periods of time, Vara's voice becoming more and more frantic and upset - until it seems that the lower beat as finally won over the higher one, and the final two verses are sung in the same melody that the song had at the very beginning. During the very last line - which is just simply "dream" - the three piano notes are played again, as if an echo of that chaos that the listener had known only a few minutes before... and then the song buzzes out, like a radio that has lost the transmission, leaving only white noise.

The song's meaning follows the same sort of feeling as before. In the first song, Alice/Vara has jumped down the rabbit hole, so this second song can be considered her feelings as she's falling. The same seductive unknown is there, but Vara feels herself getting closer and closer to it as she falls. The fall that she speaks of in this song is the fall that people have when they latch on to somebody they love. She starts off the song with the very sentiment that when you love somebody, you need to stop crying for yourself and grow up for the sake of that person. Many people can argue that Vara Gallo has never done this before, as evidence by her possible infidelities, but it can also be argued that Vara had to do this very quickly when her boyfriend relapsed. She continues into the next verse, singing about the hole in her lover's soul where his heart used to be, and the metaphorical door that Vara cannot find the key to open. This is a small allusion to Alice in Wonderland, when Alice finally lands at the bottom of the rabbit hole and finds herself at the door that she cannot open to begin with. But our Alice is not at the bottom of her rabbit hole just yet. Logical communication - like what Vara had just said before about the need to grow out and the want for her lover to open up to her - slowly starts to melt away as Vara begins to sing about "fish in the sky" and "birds in the sea" because her lover and her are together. The rabbit hole seems to be taking a turn, becoming more and more confusing as Vara calls out "It's a bad dream / a bad dream" and the mood of the song completely switches to the more upbeat feeling. The lyrics become more confusing and imaginative here, as Vara sings about "Tigers in their tanks struggle to get free/ Skinny little dogs barking up the wrong tree / Snakes in the grass learn their ABCs / And you need me / And you want me." As the song continues on and goes into the portion where the two melodies become mixed together, Vara's voice becomes more and more frantic, as it is clear that she is now seeing the possible horrors and chaos that comes from chasing after something mysterious, no matter how seductive it may seem to be. Vara begins to almost sound scared as she continues, knowing that she can't stop now - there's no going back up the rabbit hole once you've dropped yourself down - so she seems to almost wait out her fears until the song goes back to the low melody as Vara Gallo starts to reach the bottom of the hole, landing safely, but the fear and confusion still all around her. She concludes that this must be "The bad, bad / Bad, bad / Bad, bad / Dream," as the song cuts to the end, fuzzing out into white noise.


It's time for the crying to stop
Because I love you
It's time for you to grow up
I want you
And I need you

There's a hole in your soul
Where you heart used to be
All the doors are locked
And you can't find the key
There's fish in the sky
And there's birds in the sea
Because you want me
And you need me

You're drowning from all the tears in the sky
It's a bad dream
You can't even close your eyes
It's a bad dream
A bad dream

It's time for the pie in the sky
Because I'm hungry
It's time for you to let it die
You're lonely
All alone

Tigers in their tanks struggle to get free
Skinny little dogs barking up the wrong tree
Snakes in the grass learn their ABCs
And you need me
And you want me

You're drowning from all the tears in the sky
It's a bad dream
You can't even close your eyes
It's a bad dream
A bad dream

Screaming from a voice inside
Running, but you cannot find
A place
To hide
From the bad dream

There's a hole in your soul
Where your heart used to be
All the doors are locked
And you can't find the key
There's fish in the sky
And there's birds in the sea
And you hate me
But you need me

You're drowning from all of the tears in the sky
It's a bad dream
You can't even close your eyes
It's a bad dream
A bad dream

Screaming from the voice inside
Trying to find a place
Inside
To hide
From the bad dream

The bad, bad
Bad, bad
Bad, bad
Dream


SOUNDS LIKE:
Squarepusher - Do You Know Squarepusher

Edited by user 06 September 2013 13:09:28(UTC)  | Reason: Not specified

thanks 5 users thanked snap_itshannah for this useful post.
erich hess on 06/09/2013(UTC), kandii on 06/09/2013(UTC), RoseJapanFan on 08/09/2013(UTC), genocidal king on 09/09/2013(UTC), stephaniewazhere on 09/10/2013(UTC)
Offline snap_itshannah  
#12 Posted : 07 September 2013 01:24:50(UTC)
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TITLE: Three
BY: Varanese Gallo
LENGTH: 4:54
GENRE: Downtempo, trip-hop, electronica, dub
LABEL: Titanic Records


When Three starts, it's immediately obvious that this is going to be a much slower and more mellow song that the two previous. It starts off with the sounds of a pianist warming up to fully play his instrument - a few keys played, a couple openings to songs started, but nothing of a full song - when the drums start playing, greatly overshadowing the piano until it is practically unheard. The listener starts hearing the electronica of the song now - as if the backbeat of the drums were Vara Gallo's calling card in the music business. Vara's voice is strong, but soft as she sings. Every word is filled with emotion - mostly depression and defeat. When she sings, "I've closed my eyes / Not even the start / To rest my head, so far / Nothing, nowhere, but emptiness," her voice goes up into the opera-type ranges that she proved to us on her last album she can easily hit, as a group of stringed instruments accompany her, giving the electronic song a much more classy feeling. After the first "Oh...," there's a long instrumental pause, the electronica beat and the strings playing together for a minute, and then an electric guitar joining in - playing the same notes as the stringed instruments. When Vara Gallo starts singing again with "Tears of dust burn me," the electric guitar stays with her, now giving the song a more sinister, but familiar sound. She sings in her normal, low voice throughout the next verse until she comes to "I've closed my eyes" again, and her voice goes back up into the upper octives. As she sings, an echo effect is put on her voice, but the echo is much higher than Vara's actual singing voice. This effect gives the feeling that as Vara is singing, a choir of angels is repeating what she is singing right after her. It gives the song a spooky, but comforting effect, and the mental picture of Vara spinning at the bottom of her rabbit hole as unknown - unseen - people with a comforting prescence share in her fear and misery of choosing to see just how deep the rabbit hole goes. As the song ends, the echoes fade out, along with Vara's voice, and we come back to the sounds of the pianist still trying to warm up, playing the same keys and warm-up methods over and over again.

This song is basically the representation of what Vara/Alice is feeling once she landed at the bottom of the rabbit hole, and how she's alone, rethinking the stupidity of jumping. She is "... chasing defeat / Self-created misery" as she has this small pity party for herself on the dirt, thinking of all the things that she could have done differently. She admits to herself that no matter what, she was going to end up jumping down this rabbit hole because it was fate, but that doesn't mean that she can't be upset with herself and fate for letting her do it. But she isn't going to let this pity and saddness get the best of her. "I won't lie down / I'm already down," she sings, declaring that just because she's physically low doesn't mean that she needs to make herself mentally low as well. She's already in the rabbit hole, so there's nothing left to do but trying to find a way out. The chorus: "I've closed my eyes / Not even the start / To rest my head, so far / Nothing, nowhere, but emptiness" is sung snidely and bitterly, as Vara is openly angry with herself and her body for laying down and giving up rather than standing to fight for her life back. "Tears of dust burn me," she sings as the next verse starts, the moment of her finally standing on her feet again to seek the real world again. She's so exhausted that she can't even muster tears - she refers to the dust that covered her when she landed at the bottom of the hole as her tears and how they burn her eyes. She stands up - "I've put my feet down / Firmly on the ground" - and tells herself that she can't go back in time and stop herself from jumping down the rabbit hole, so now she has to do whatever she can to get back out. We are left with a final mental scene of Vara Gallo walking into the darkness, ready to find Wonderland or whatever awaits her, covered in dust and dirt like a lone soilder from the war.


Oh...

I'm chasing defeat
Self-created misery
Where will this end
Where did it begin
I won't lie down
I'm already down
I rest my step and fall
Into the hole

I've closed my eyes
Not even the start
To rest my head, so far
Nothing, nowhere but emptiness

Oh...

Tears of dust burn me
I'm so tired and weary
I've put my feet down
Firmly on the ground
There's no way to overcome
What I've done
I've missed my step and lost all control

I've closed my eyes
Not even the start
To rest my head so far
Nothing, nowhere, but emptiness

Oh, oh


SOUNDS LIKE:
Sneaker Pimps - Half Life

Edited by user 07 September 2013 01:25:56(UTC)  | Reason: Not specified

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Offline snap_itshannah  
#13 Posted : 08 September 2013 07:01:45(UTC)
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TITLE: Four
BY: Varanese Gallo
LENGTH: 1:54
GENRE: Industrial rock, industrial metal, alternative rock, dark ambient
LABEL: Titanic Records


Four follows the same suit as Three with a softer sort of song compared to One and Two. This one has practically no editing or alternations to it, and can hardly be considered an electronica song except for the bit of electronica elements near the end of it. Vara Gallo has already proved to us before in her earlier debut album that she has the abilty to sing a softer sort of song, but most listeners don't mind be reminded the moment they hear Gallo's clear, sweet, beautiful voice. The first three songs of the album have been rather frantic and chaotic, so Four, which features mostly only a piano and Gallo's voice, gives a different feeling - as if giving the listener a small couple minutes to relax being launching them back into the scary world that Vara/Alice has found herself in. The entire song is sang softly, Vara's voice almost matching the volume of the piano as they seem to combine as one. Her voice is soft, but anxious, almost as if she were staying quiet because she didn't want to alert any possible unseen people to her prescence. The piano stays at a relatively high note for most of the song, giving the song a calming effect, as if to say that there's nothing to worry about and everything is safe - but then turns on us in the third to last verse when Gallo begins to sing, "I want you to / I want you to / I want you to / Get me high." The note suddenly drops several octives down, going back to that strange, eerie feeling that we always had in the three songs beforehand. Gallo's voice drops as well, sensing the danger too, as a high buzzing noise joins the piano and her voice, getting the listeners ready to enter the Wonderland.

In Three, Vara/Alice had landed at the bottom of the rabbit hole and had finally convinced herself to walk down the cavern until she reached wherever the cavern led (the listeners know that the cavern leads to Wonderland, but of course Vara/Alice doesn't know that yet). This song is Vara's thoughts as she follows this dark cavern through to the othe side, and to her unknown destination. Of course, she thinks about the possible negative consequences of going down this road, but after her self-pep-talk in Three, she's thinking more positively about the effects of following this path. "Dance with me / All the way / I want you to / Get me high / Dance with me / All the way / I want you to / Satisfy" she sings to the cavern, asking it to please have good outcomes rather than bad ones, and to be satisfying for her so she doesn't feel the need to go exploring and finding adventure to unknown places anymore. She knows that this is dangerous and that she's probably in too deep, but she doesn't stop and asking for help, becoming her own sort of Action Girl trope as she continues on. When the music gets lower and more sinister sounding, her voice also gets lower and her voice a bit more pleading, asking for this road to lead her to good things rather than bad ones for the last time before the song ends.


It's wonderful
When I am uncomfortable
This rollercoaster mind
My one track ride
Tell me you'll lie
Replacing my alibi
I'm a poster girl
And you're the one take guy

Dance with me
All the way
I want you to
Get me high
Dance with me
All the way
I want you to
Satisfy

I'm hanging off of a cliff
Can feel my heels start to slip
And while I live fo the fall
You're my masquerade ball
Can't wait to catch that train
Twenty-two's going your way
I'm a billboard sign
Here's the number to call

Dance with me
All the way
I want you to
Get me high
Dnace with me
All the way
I want you to
Satisfy

Dance with me
All the way
I want you to
Get me high
Dance with me
All the way
I want you to
Satisfy

So
Here it goes
I don't listen
So
Here it goes
And so
Here I've gone missing
So here I go

I don't want to choose wrong from right
I love how you make me fight
And I'll circle the light
I'm racing
Night after night
I know I'll choose wrong from right
I love how you make me fight
And I'll circle the light
I'm racing
Night after night

I want you to
I want you to
I want you to
Get me high

Dance with me
All the way
I want you to
Get me high
Dance with me
All the way
I want you to
Satisfy

Dance with me
All the way
I want you to
Get me high
Dance with me
All the way
I want you to
Satisfy


SOUNDS LIKE:
Nine Inch Nails - The Frail (0:00 - 1:54)

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Offline snap_itshannah  
#14 Posted : 10 September 2013 01:34:47(UTC)
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TITLE: Five
BY: Varanese Gallo
LENGTH: 4:03
GENRE: Alternative rock, post-industrial, trip hop, experimental, ambient
LABEL: Titanic Records


The songs starts off with a cautious couple of electronic notes - the sound being very reminiscent of 80s crime and cop shows. Vara's voice comes through over the notes, her voice much more confident and relaxed now as compared to Four or Three. A drum backbeat joins her when she begins the sing, adding the beat and tempo that her voice will go at throughout the song. There's a two second pause in the music as the last electronic note is played and then faded out right before Vara starts to sing: "Do you get tired / Of being admired?" When she begins to sing again, the beat comes back, but much stronger than before. The notes being played now have a low buzzing sound behind them, adding an alternative rock feel to the song - something more normal for Vara Gallo. The song continues like this until Vara reaches the line "I'm in the shadows," which causes all of the electronica/alternative rock sounds to drop out suddenly, including the drums, and it's just Vara singing over the 80s crime show sounding notes and the sound of a small percussion instrument - possibly a tambourine - keeping the beat until she gets to "On the ground that I've found you..." Vara holds out "you" as all the instruments fade out, only leaving behind a high pitched note, as if somebody were holding down one of the higher notes on a church pipe organ. Suddenly, all over the instruments join back into the sound, only much louder, with much more passion, and with much more of a post-industrial sound to it. There is a small intro for this new tune as it displays it's neoteric sounds and whistles, but shows that it's kept the exact same beat that it's had the whole time. Vara adds to this fact as she continues to sing the same way that she's been singing the entire song, not even changing the volume of her voice so that she is heard over the new tune, but only just barely. The song continues like this until Vara reaches the end of her verse, singing "And you'll hang your head down in shame," she holds "shame" for a good ten seconds before she lets the word go. The moment she stops singing, all of the instruments drop as well, leaving the song with just the 80s crime show sound and the drums - making the song sound exactly the same way it did at the beginning. Vara's voice sounds about the same, but much more cautious now, as if she's seen the danger of being overly confident and wants to avoid that now. As she finishes the song, she sings the last line, "As you drop to your knees," the music cuts out at "your," so she sings, "knees," over silence, ending the song entirely.

The beauty of the songs on Lover's Eyes is while they are together in the album form, they form a story of Vara/Alice's adventures through the rabbit hole, and then Wonderland, and then how she deals with all that she's learned when she's back in the real world. But when they are taken apart from the other songs, they can mean whatever the listener thinks they mean. This was one of the main reasons why Vara Gallo refused to title her songs - then the songs would mean what she thinks they should mean, and that's not something she wanted to put her listeners through. Whatever the listener wants to believe this song is about is up to them, but this is an explanation of what it means in regards to the Vara/Alice plotline: Vara/Alice is still trudging down the dark cavern, getting closer and closer to the door to Wonderland, although she - of course - does not know that yet. All around her in the darkness of this cavern as creatures from Wonderland that are watching her in the shadows - not because they want to hurt her, but because they are just as curious and shy as she is. The opening verse is Vara's inner thoughts - or perhaps she said them outloud to herself - as she continues to Wonderland. This attracts more of the creatures to venture towards her until one of them - a smaller one - comes too close from out of the shadows and is spotted by Vara. Vara bends down to pet it and it scampers away from her and back into the shadows. She notices other eyes around her and assumes that they belong to the same kind of creature that she had just seen before. She sings half of the next verse to these animals, asking them if they ever get tired of feeling desired and loved by everybody who sees them. She explains to the creatures that she doesn't know what that could feel like because she feels she's never been desired and loved like that before. Another creature, one just as sweet and shy as the smaller one, is comforted by the sound of Vara's voice and comes out of the shadows towards her. Sadly, this creature is not as small and cute looking as the other one - in fact, this creature is large and scary-looking, which causes Vara to sprint away from it and into the shadows to hide as she continues down the path. The rest of the second verse is her thoughts towards the unknown, telling them that she understands the fact that they don't understand why she ran, and that she doesn't really expect them to understand, but she had to out of the humanistic instinct of fight-or-flight. When Vara feels like she's gotten a decent amount away from the creature that scared her, the third verse starts, her pace quickens and she finally starts to reach the end of the cavern.


I am so tired
This is insane
Just go away now
I don't feel the same

Do you get tired
Of being admired?
I'm starting to think that it's safe
Because they've got the fire
You're so damn desired
And me, well, I don't feel the same
I'm in the shadow
On the ground that I've found you
So don't come to me to complain
I know you don't know
I'll tell you not to go
And you'll hang your head down in shame

I don't want you that way
You're not something I say
As you drop to your knees
I don't want you that way
You're not something I say
As you drop to your knees


SOUNDS LIKE:
Puscifer - Polar Bear

Edited by user 10 September 2013 01:48:47(UTC)  | Reason: Not specified

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Offline snap_itshannah  
#15 Posted : 12 September 2013 01:55:44(UTC)
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TITLE: Six
BY: Varanese Gallo
LENGTH: 3:49
GENRE: Alternative metal, experiemental rock
LABEL: Titanic Records


The song starts off with a slow musical climb - starting from a low buzzing noise, but becoming more and more confident, and eventually turning into the sound of a pipe organ playing. This climb starts off the first thirty seconds of the song. As the note that the pipe organ is playing, Vara Gallo's voice rips through the sound, shouting out, "Do you want a piece of my time?" in a loud, passionate voice. By the time she hits, "piece," the pipe organ sound has completely faded out and is replaced with drums, guitars, and bass. In other words, the song begins to sound more like a rock/metal song and less like the start to a church choir song. When the first verse ends, the instruments calm into a soft roar as Vara begins to sing much softly, her voice being altered to sound like she's on the radio or far away as she sings, "I'll give you / All of me..." The instruments immediately come back after that, going into the same sort of sound they had before, but with Vara's voice still coming in softly - just barely heard over the instruments - as she sings the rest of the verse. There's a small vocal pause between the end of the verse and the beginning of the third one before Vara comes belting, "Do you really want my arms?" the same way she had sang "Do you want a piece of my time?" at the beginning on the song. The same cycle starts with these two verse as it did with the first two verses - the second verse becoming much quieter and understated than the first one, and then exploding out again. This time, however, when it seems like it's time to go back into the more energetic and loud portion of the song, the song stays at the same, quieter beat, singing the same lyrics over again. Vara sings this again, her voice fading out at the end until it becomes that same dull roar. The dull roar turns into the pipe organ again, and then into what sounds like radio static.

This song is more or less a filling song for the album - it doesn't progress the storyline of Vara/Alice, but merely fleshes out the character. Vara sings towards the world, stating how she's happier to be underground than above-ground because too many people expect things out of her above ground ("Want my blanket so you don't get cold?" she asks the world, or, "Do you want to cover your eyes? / Do you want to see through mine?") and she simply feels used. In this cavern, heading towards god-knows-where, she actually feels a little bit happy. No matter where she ends up, she knows that whatever is there will not expect the same things out of her that the people above-ground do, so she doesn't mind it at all. All the fear and anxiety that she had once associated with this cavern has completely fallen away and given birth to new understanding and optimism. As the continues down the path, she continues to find good things about being in this cavern away from everybody else until she realizes one thing: Sure, she had to give up things to other people to help them, but other people helped her as well. To say that she is happy now that she's going to this new place because that means she won't have to continuing helping people also means that these people will not help her either. The trade off above-ground seemed unfair because Vara never thought about the positive consequences that came from it before - she only ever thought about the negative ones, and what helping people was costing her rather than what it was doing to help her. She finishes the song with a repeat of the chorus, adding at the end, "But you can't even see / That I'm failing to breathe," singing towards the new world she is headed to - a world that will not care about her if she does not care about them either. As the song fades out, the feeling of anxiety comes back to Vara/Alice, and she wonders if this new world she is headed towards will really be that different from her own world at all.


Do you want a piece of my time?
Or a piece
Of my mind?
Bare another chip on my shoulder
Want my blanket so you don't get cold?
Oh oh
Do you want to cover your eyes?
Do you want to see through mine?
Taking my darkest years
So you don't disappear?

I'll give you
All of me
Then I can walk away
Free from the weight of the world that believes
So come on, come on

Do you really want my arms
So you can hold my hand?
Take the skin off my back
Take the feet from under me
So you can stand
Take in all the people I like
Break in all my sunny skies
And I will take all of your rain
For the ones you hate

I'll give you
All of me
Then I can walk away
Free from the weight of the world that believes
So come on, come on

I'll give you
All of me
Then I can walk away
Free from the weight of the world that believes
But you can't even see
That I'm failing to breathe
So come on, come, come, come on


SOUNDS LIKE:
Deftones - This Place is Death

Edited by user 12 September 2013 01:56:38(UTC)  | Reason: Not specified

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Offline snap_itshannah  
#16 Posted : 14 September 2013 02:01:46(UTC)
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TITLE: Seven
BY: Varanese Gallo
LENGTH: 5:46
GENRE: Trip-hop, alternative rock, experimental rock
LABEL: Titanic Records


The song starts off with what sounds like a short explosion of sound - almost like an animalistic scream - that fades out quickly and gives way to a keyboard playing a soft, but sinister sounding melody. A backbeat joins it, giving it more of a hurried sound as well now as you hear Vara vocalizing softly, almost like she were another instrument being used in the process. There's a downbeat before Vara starts actually singing the lyrics, which causes the song to take on another sort of sound. Although all the instruments are still playing the same beat and melody as they were before, another keyboard has joined in as plays the exact same notes as Vara sings. Vara' voice also seems to take on a sinister and precise sound to it as she over-annunciates every word she sings, seeming to almost spit the words into the microphone. One of the main complaints about Vara Gallo has been that she is simply hard to understand when she sings because of her Italian accent. Her voice is almost crystal clear in this song, showing that if her fans cry out for her to sing more understandably, she will oblige. Or, at least, her manager will make her oblige. The song continues like this, but takes a sudden and odd turn after the second verse. The third verse starts out with the drum beat changing, becoming much of militaristic sounding, as Vara's vocals go up an octive, singing in exact beat with the drums in a high, monotone voice. When she finishes the verse, a loud guitar note plays - as if even the guitar were saying "enough of that..." - and you hear only the drums playing as that guitar note fades out. The drums are playing a much faster beat now, as Vara's voice comes swiftly back, taking on a much more trip-hop feeling as Vara raps "I've been here somewhere before / Covered in frustration / But / Still I've lost me somewhere / And I don't want this situation." Her voice becomes much more bitter and upset sounding, almost as if she's about to come out of the speakers and strangle you herself. There is so much hate and frustration behind every word that comes out of Vara's mouth, and you can tell that music is her way of working through all of this. When she finishes the verse, the song slows down and goes right back into the tune that the song had at the very beginning, with Vara singing with a much less pained and angry voice. She sings her last word and the song fades out, leaving the drums as the last thing playing before they finally stop.

After Vara/Alice's realization in the last song that she can't expect her life to completely change just because of her where she is, she starts venturing back into the depression of her mind, declaring that this cavern will be where she's dies. She cries because she feels like everybody else in the world gets exactly what they want while she has to die alone just to get away from all the responsibilities and heartache of the outside world. She knows that she's being selfish in wanting to die here, and asks whoever finds her body "Don't tell anyone that / This is / This / This is / Where I'm found." She looks around and almost comes to terms with the fact that she believes she is going to die here, thinking that this had been her fate all along and that she and this cavern are "Meant to be." She relaxes a little bit because of this, becoming more and more open to the idea of dying very soon - but then immediately jumps up and shakes her head. No, this is not where she will die. "I've been here somewhere before / Covered in frustration," she sings. She has been in situations like this before where she is so frustrated with her situation and with life that she feels like giving up, but she made it through those parts of her life, so she can definitely make it through this. As she trudges on, she makes one last plea: She doesn't want to die in this cavern, but if she must die here, please don't let anybody know that this was where her body was found.


This is anything but fair
Don't say that it's not cause
You get what you want
And I
Well, I don't want this situation

Don't tell anyone that
This is
This
This is
What I've found
I'm surrounded
Don't tell anyone that
This is
This
This is
Where I'm found
I'm so surrounded

And I
Oh, I believe
It's never too late
To be where I have been
And I think we
We are meant to be
We are meant to be

I've been here somewhere before
Covered in frustration
But
Still I've lost me somewhere
And I don't want this situation

Don't tell anyone that
This is
This
This is
What I've found
I'm surrounded
Don't tell anyone that
This is
This
This is
Where I'm found
And I am done


SOUNDS LIKE:
Peeping Tom - Your Neighborhood Spaceman





UserPostedImage
TITLE: Eight
BY: Vara Gallo
GENRE: Alternative rock, gothic rock, post-punk revival, indie rock
LENGTH: 3:35
LABEL: Titanic Records
From the Album: Lover's Eyes


As said before, Vara Gallo's newest single, Eight, is certainly a change from her past singles. While many of her other singles have been based in a gothic electronica type sound, this particular song has much more of a dance club sound to it. It's the type of song that you would hear at a dance club late at night, and you end up making out with your best friend to in the middle of the dance floor. Which is definitely something that Vara Gallo has done before, but not to this song. But probably will to this song later. Whatever. Vara keeps just enough of her roots in the song to keep it just dark enough to be recognized as one of her songs, and to make the lyrics not seem out of place. She sings about being her own sacrifice, and how she doesn't quite understand what is happening around her. She asks herself questions like, "So is this falling apart, or are these pieces of me? / Is this a nightmare to be, or am I building a dream?" and "So tell me, tell me will I die if I forget how to lie?" as if she's running around in this world, unsure of where she is going and unsure of where she has been. The confusion of the song is part of her Alice in Wonderland theme that she's been carrying throughout the entire album. Other lyrics like, "Making excuses like imaginary friends that run away," references the idea that all of Alice in Wonderland was a dream made up by Alice and her imaginary friends, and other lines like, "I'm lost in my paradise, the walls have built in my life," bringing up the fact that while Wonderland is much like a paradise to Alice in the beginning, it's also just as scary and confining as her real life is. Although the lyrics are full of emotion and confusion, it all seems a little sexy. Vara's voice, while always having a very seductive tone to it, takes her attractiveness to a new level as every word she sings seems to sound like she's orgasming right in front of the microphone. If you didn't listen to the almost heartbreaking lyrics, the whole song sounds like it would be one of those songs on your list of songs to have sex to, and maybe it still would be with the lyrics included. It's definitely the type of song that would end up in the sex scene of a movie, and it probably will be eventually. If every song tells a story, then the story that this song tells is of a very attractive woman who is trying to convince herself that she's having the time of her life, sleeping with a bunch of men, doing drugs, dancing, drinking... but in reality, she wonders if she's wasting away with this kind of life, and not enjoying the other ways that life can be lived.

Tracing the steps that I take
Feeling mistakes that are fake
Making excuses like imaginary friends that run away
To where I've already been
To where I already am
So tell me, tell me it'll work out so I'll be wrong again
I look inside, I'm surprised at what I see in my eyes
So tell me, tell me was I there when I was taught how to lie?
I thought I'd chase paradise, but I'll just settle for life
So tell me, tell me did I die when I was taught how to lie?
Don't tell me what it'll be because it's all in degrees
And by degrees what I mean is you don't see what I see
So is this falling apart, or are these pieces of me?
Is this a nightmare to be, or am I building a dream?

When did this come to be?
When did things pick up speed?
Time gone by living in me
Time gone by living in me
Oh ohh
Don't know why (don't know why)
Don't know why (don't know why)
Don't know why I am here
All that I've forgotten is only stopping to remind me
Only I (only I)
Know that I (know that I)
Only I can be my own
Odd sacrifice
I suffered twice and all that I did
Was believe

It's funny how life can be the circles dance around me
Drawing a reminder of what I've done and who I've become
Sleeping my days without dreams, waking at night without sleep
Missing the truth to lie to the promises I heard I would keep
I'm lost in my paradise, the walls have built in my life
So tell me, tell me will I die if I forget how to lie?

When did this come to be?
When did things pick up speed?
Time gone by living in me
Time gone by living in me
Oh ohh
Don't know why (don't know why)
Don't know why (don't know why)
Don't know why I am here
All that I've forgotten is only stopping to remind me
Only I (only I)
Know that I (know that I)
Only I can be my only
Odd sacrifice
I suffered twice and all that I did
Was believe



SOUNDS LIKE:
She Wants Revenge - All Wound Up

Edited by user 14 September 2013 02:07:36(UTC)  | Reason: Not specified

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Offline snap_itshannah  
#17 Posted : 17 September 2013 00:21:39(UTC)
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TITLE: Nine
BY: Varanese Gallo
LENGTH: 5:01
GENRE: Synthpop, dark cabaret, alternative
LABEL: Titanic Records


The song starts off with a heavy techno beat which follows her voice throughout the whole song. When Vara sings, her voice is soft and weak - as if she's taking in a lot of tough information or she is simply physically exhausted. There's a slight echo to her voice, making the song feel all the more desperate and vulnerable. This song is the first time it's fully explained to us why Vara/Alice was so eager to jump down the rabbit hole and find new meaning for her life. Of course, it was because a significant other has slighted her, and instead of doing with her problems, she'd rather run away from them. As she walks through Wonderland, she realizes this, but also says that it's "Suicide to think of you," - you being her significant other - "But I still like the pain / The consequence of losing to you / But I still play the game." It's obvious that Vara and her lover still haven't broken up yet, and Vara is actually willing to stay in the relationship with this person out of a masochistic need. After she sings about her issues with this love, and her own mental issues involving her need for pain and the metaphorical "suicide" that her lover is causing her to commit, she realizes that even if she wanted to go back to her lover, she couldn't, because Wonderland has trapped her - not in an evil and malicious way, but in a friendly way. Confusing, yes. But Wonderland has trapped her because Wonderland has given her an out to everything in life that she didn't want to deal with, and is now telling her that she won't ever have to deal with it again. Too much responsibility? Gone. Friends that abandon you? No more. Abuse lover? Forget about it. Sure, life without negative consequences to your actions may not be considered fully living, but it's exactly what Vara feels she needs right now. Vara sings to her lover again, "I've sacrificed my own life / Just to see you satisfied," trying to blame her fall down the rabbit hole and her adventure into Wonderland on trying to please her significant other. If somebody isn't around, it's much easier to blame all of your problem on them. Again in the next verse, she blames her lover again, shouting out, "I can't believe what you do to me, all alone in the crowd / And you can't go back now / Oh, I can see this is done / You're irresistibly wrong," again, blaming her lover for the reason why she's in Wonderland, and then blaming Wonderland for why she isn't leaving. It seems like in this situation, all the fingers are being pointed at everybody else except Vara.

Why do we cry
When there's no more goodbyes?
Don't want to get left behind
Don't want to be the voice inside

Suicide to think of you
But I still like the pain
The consequence of losing to you
But I still play the games

But I can see what you do to me, standing over tall
And foolishly I act small
I can't explain how you've got me
Can't explain how you've trapped me
So I takewhat I can get, whatever you give me will be the company
I keep when I run, run, run, run from defeat
Oh oh, I wonder

Why do we cry
When there's no more goodbyes?
Don't want to get left behind
Don't want to be the voice inside

I've sacrificed my own life
Just to see you satisfied
I gave it all up for one more lie
Until I saw your other side

I can't believe what you do to me, all alone in the crowd
And you can't go back now
Oh, I can see this is done
You're irresistibly wrong

So I take what I can get, whatever you give me will be the company
I keep when I run, run, run, run from defeat
Oh oh, I wonder, oh oh I wonder

Why do we cry
When there's no more goodbyes?
Don't want to get left behind
Don't want to be the voice inside

Why do we cry
When there's no more goodbyes?
Don't want to get left behind
Don't want to be the voice inside

(Gotta go away...)

Why do we cry
When there's no more goodbyes?
Don't want to get left behind
Don't want to be the voice inside

Why do we cry
When there's not more goodbyes?
Don't want to get left behind
Don't want to be the voice inside


SOUNDS LIKE:
IAMX - Nightlife

Edited by user 17 September 2013 01:32:43(UTC)  | Reason: Not specified

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Offline snap_itshannah  
#18 Posted : 18 September 2013 22:29:07(UTC)
snap_itshannah
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TITLE: Ten
BY: Varanese Gallo
LENGTH: 3:08
GENRE: Noise rock, post-punk, shoegazing, experimental rock, nu gaze, neo-psychedelia
LABEL: Titanic Records


Ten is the first song on the album that is not sung through Vara/Alice's point of view, but is sung - this time - through the Cheshire Cat, who seems much more sinister and uninviting in this version of Wonderland than he did in the book or cartoon. Throughout the song, he taunts Vara as he moves around her, sometimes invisibly (as he has the powers to completely disappear and reappear on command). "I am just over your shoulder, baby / You make me feel colder by turning away / Would you stop for a second, I'm asking you a question / About "You know why I am this way...?"" He starts off the song, immediately beginning to taunt her and mess with her head, saying that he is right behind her when she - of course - cannot see him. He asks her question and then answers it for her, "You know, you know, you know why." In the chorus, The Cheshire Cat sings for all of Wonderland, proclaiming, "I'm abut to change your pretty mind / I'm about to change your pretty life." Vara is, of course, terrified of this creature that is speaking to her like this and attempts to run away from it, but the cat is so part of Wonderland that you cannot go anywhere in Wonderland without finding yourself face-to-face with the cat. He repeats the chorus, adding, "Are you ready? There's no stopping time." Another terrifying threat from the beast who at first seemed just quirky and weird... well, it is a talking cat, so... anyway. The cat's tone of voice changes a bit now, singing, "Because, because, because, because / You could be the reason I love, you could be the reason I love / You can be the reason I cry / You could, you could, you could, you could." Vara is confused by this new tone of voice, unsure if the cat is reaching out to her for help, wanting to be able to find somebody to love and find a reason to cry - like perhaps the cat has been devoid of emotion for so long and that's why he seems scared and uncouth. But she also doesn't want to be caught in some trap that this crazy talking cat has, so she continues to try to get away from him. The cat goes back into the same tone of voice that he had before, repeating, "I'm about to change your pretty mind / I'm about to change your pretty life," and this time adding, "I can see the fear that's in your eyes / Are you ready? There's no stopping time." Again, Vara is unsure if the cat is meaning to taunt her by pointing out the obvious fear in her eyes, or is trying to help her by saying that he understands that she's scared, but there's no stopping the inevitable. Probably a little of both. The cat finishes the song by singing, "You could be the reason I love / You could be the reason I cry / You could, you could, could be the reason why," which answers the question at the very beginning of the song when he asked her, "You know why I am this way...?"

I am just over your shoulder, baby
You make me feel colder by turning away
Would you stop for a second, I'm asking you a question
About, "You know why I am this way...?"

You know, you know, you know why

I'm about to change your pretty mind
I'm about to change your pretty life

You can close your eyes, but do you taste my breath?
Hear my voice drowing you, feel my skin on your back
Hey, I see you're falling, and one your knees you're crawling back
Back to me

I'm about to change your pretty mind
I'm about to change your pretty life
Are you ready? There's no stopping time

Because, because, because, because
You could be the reason I love, you could be the reason I love
You could be the reason I cry
You could, you could, you could, you could

I'm about to change your pretty mind
I'm about to change your pretty life
I can see the fear that's in your eyes
Are you ready? There's no stopping time

You could be the reason I love
You could be the reason I cry
You could, you could, you could be the reason why


SOUNDS LIKE:
A Place to Bury Strangers - It Is Nothing

Edited by user 18 September 2013 22:29:51(UTC)  | Reason: Not specified

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Offline snap_itshannah  
#19 Posted : 21 September 2013 02:14:46(UTC)
snap_itshannah
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TITLE: Eleven
BY: Varanese Gallo
LENGTH: 7:31
GENRE: Post-metal, sludge metal, progressive metal, post-rock, experimental
LABEL:Titanic Records


Again, Eleven another song through the point of view of somebody else besides Vara Gallo - another Wonderland favorite, The Mad Hatter. This Mad Hatter isn't like the Mad Hatter we're used to knowing. Does anybody else remember that mini-series on Sci-Fi that was called Alice, and Kathy Bates played the Queen of Hearts, and Tim Curry was in it, and the Hatter was, like, a really sexy drug dealer? Okay, picture that Hatter. Great, glad we got that out of the way. ANYWAY. Vara/Alice has gotten away from the creepy cat just to run into this Hatter, who is suave, handsome, and definitely not all that he seems to be. It is now where the listener - the reader- realizes that Wonderland is working against Vara as it attempts to suck her into this world that seems like it would be fantastic and wonderful, and then corrupt her from the inside out. The Hatter serves the great purpose here of attempting to lure her into his presence and charm her, and then hand her over to the Queen. But one look at Vara, and the Hatter immediately has feelings for her. Now he is being pulled in two different directions. One side of him declares loyalty to this world and it's Queen - the only Queen and world he's ever known - but the other side of him thinks that he should help this poor girl and send her away. The song perfectly documents his struggles as he goes back and forth between wanting to lure this woman along, and wanting to send her away. At the end, he realizes that he wants to help this woman, but his loyalty is too strong and the only way of helping her is to send her away from him. But, of course, Vara - who doesn't understand quite yet what is happening - doesn't go away as she too has had immediate feelings towards this handsome, confusing Hatter, which brings us swiftly into Twelve, which is the all important sex scene between Vara and the Hatter. Like in any fantasy, the two fall madly in love with each other, and it is now a mission for both of them to get out of Wonderland together - or so that's what Vara thinks. The Hatter is afraid to tell Vara that he cannot leave Wonderland because he is a part of it. He think that if she knows that, she won't want to escape from it anymore. So they start off on their journey together, Vara full of energy and life, excited to leave the land and start a new life with this man above ground, and the Hatter, full of guilt and worry, afraid to let Vara know the truth.

Come to me
Baby
Follow my lead
I've a confesstion to make
It's always been this way

Oh, I'm playing you for a fool
You fell for every broken rule
I'm doing what I owe to you
It's been a long time coming
And I'm coming for you

While I
Silently, I scream
Inside I
Barely breathe
Silently, I scream

Reflection of the soul
It'll never be the same
Less less than jaded, I
Still
Still I've changed

Do you feel
Naive
Did you make me believe
Were you
Deceived
Oh, you fell right on your knees

Oh, I'm playing you for a fool
You fell for every broken rule
I'm doing what I owe to you
It's been a long time coming
And I'm coming for you

While I
Silently, I scream
Inside I
Barely breathe
Silently, I scream

Reflection of the soul
It'll never be the same
Less less than jaded, but
Still
Still I
I've changed

You've got to crawl away now
No way I'll let you stay
You've got it going on
I don't want to see your face

It's taken all this time
Before
I realized that I
Should go
Because I told you so I
Could let it go
Without a fight
It might not be right

Reflection of the soul
It'll never be the same
Less less than jaded, but
Still
Still I
I've changed

You've got to crawl away now
No way I'll let you stay
You've got it going
I don't want to see your face
I don't want to see your face
I don't want to see your face


SOUNDS LIKE:
ISIS - So Did We





TITLE: Twelve
BY: Varanese Gallo
WRITTEN BY: Varanese Gallo
GENRE: Alternative rock, trip hop, dream pop, shoegazing
LABEL: Titanic Records



Is that you doing that to me?
With your stare
I feel the temperature start to rise
And I
Really take it from there

I start to press my skin to you
I'm craving it
I'm feeling you
Will you relieve me fast
Feast your eyes on my display
Take control
Fall over me
Cover me in ecstasy

Let me ride to heaven
Let me feel the swelling
Oh, let me concentrate

I can feel it
When I taste
Like the wind
I breathe
Crawling inside of me, baby
Oh oh oh

Now's the time for you to let go of
All your inhibitions
We can do this one more time
With a little
Tease and conversation

Watch the way my body moves
Feel the rhythm melting you
Mmmm, this is how it should be
Crawl over you
I'll dominate
Your destiny
I'll be your faith
I will be your fantasy

Let me ride to heaven
Let me feel the swelling
Oh, let me concentrate

I can feel it
When I taste
Like the wind
I breathe
Crawling inside of me, oh, baby
Oh oh oh

I can feel it
When I taste
Like the wind
I breathe
Crawling inside of me, baby
Oh oh oh

If I've fallen in love with the soul
If I've fallen in love with myself
I'll take it all in one time

I can feel it
When I taste
Like the wind
I breathe
Crawling inside of me, baby
Oh

I can feel it
When I taste
Like the wind
I breathe
Crawling inside of me, baby
Oh oh oh


SOUNDS LIKE:
Team Sleep - The Passportal

Edited by user 21 September 2013 02:15:25(UTC)  | Reason: Not specified

thanks 4 users thanked snap_itshannah for this useful post.
erich hess on 21/09/2013(UTC), Walton on 22/09/2013(UTC), RoseJapanFan on 22/09/2013(UTC), stephaniewazhere on 09/10/2013(UTC)
User is suspended until 28/07/4752 18:55:55(UTC) Walton  
#20 Posted : 22 September 2013 05:48:11(UTC)
Walton
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Groups: Registered
Joined: 08/04/2012(UTC)
Posts: 5,416
Man
United States
Location: Far away with Austin Mahone.. ♥

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Was thanked: 1998 time(s) in 1105 post(s)
Serenity Scott: I absolutely adore and admire how diverse you are when it comes to your music. Diversity is something so unique to me and you rarely see that these days. This album is getting a 5/5 from me Vara! All of these songs are great and therefore, picking a favorite is extremely hard.

OOC: Great job Hannah! I love this Vara character! :)
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