The song fades in with a synth drone, which is overlayed with a repetitive, jangly, dissonant, atonal guitar riff. A metronomic drum beat enters, followed by a hauntingly beautiful electric piano line, and finally by McClusky's icy baritone that does not soar here like it will on later OMD tracks like "If You Leave," but rather blends in with the stillness of the instrumentation. As the song comes to a close, these elements all drop out quickly but one at a time, leaving only the jangled dissonance of guitar, which abruptly ends. No instrumental solos or bridges, no chord changes or crescendos, just a delicately sparing and minimalist song that is elegant, beautiful, and somehow simultaneously cold and sad. It has a sound of ending, winding down, and entropic stillness that will work well with the themes of the piece. Both the music and the lyrics go nowhere, but simply repeat with very little change. In keeping with the concept of the Bachelor Machine, the song does not come to climax. Instead, it plods on with a driving pulse until it comes to a sudden halt. Below are the lyrics:
Of All the Things We've Made
To want this.
Of everything we've made.
The times it's worked before.
Of all the things we've said.
Times that worked before today.
To want this.
Of everything we've made.
The times it's worked before.
Of all the things we've said.
It always worked before today.
Of All the Things We've Made
To want this.
Of everything we've made.
The times it's worked before.
Of all the things we've said.
Times that worked before today.
To want this.
Of everything we've made.
The times it's worked before.
Of all the things we've said.
It always worked before today.
1 comment:
What is the connection between the song's structure and the concept of the Bachelor Machine? How does the song avoid traditional elements like instrumental solos, bridges, chord changes, or crescendos?
Regard Telkom University
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