long time ago I decided to stop carrying clock. My wrist is skinny and I was fine, and now, when you can read almost anywhere. But somehow there was also a point of self-censorship compulsively check the time, how much have you already and what is still lacking, I crossed as a fixation that began to bother me, and worse that (I) and intrinsic slight uneasiness. I rarely look at the relief represented a timer when waiting for something: if a long, impatient you more, if there is too little, I overexcited at the prospect of the imminent fall of the tree. All this, after all, is just an abbreviation for something that is actually much more vague: the wait is not always a tour with one last stop, either to reach a site, the results of an analysis or eat, finally, dinner. There are times when you feel the urgency and do not expect anything concrete (or so I believe). There are times that expected based on staged a reverie. Willful neglect on this illusion is breathtaking what this sublime song The Creatures .
The duo of Siouxsie Sioux (voice) and Budgie (percussion) and had previously worked with a horn section in 1983, when they recorded a version of 'Right Now' (years before the voices of Aretha Franklin and Mel Tormé) already represented a departure in tone in the tribal and jungle universe they had created from drum beats and metallophones, only acolytes of the lady of The Banshees in the first records of this other project. The album Boomerang (1989), the image of the cedars, moss and spears is succeeded by the dry weather, the villainous blues, and Hispanic and Asian touches plum color spilled wine fine sand and chalk. 'Killing Time' has the makings of a timeless composition with words so well chosen that could be part of the classical repertoire of any bird sad song as Billie Holiday or Nina Simone. Siouxsie's voice flows naturally, effortlessly and elegantly, feels like a vamp that against all odds has fallen into the trap of longing love. The only presence of the wind and battery leaves withered and decaying space that dramatizes (and becomes ever night) that lonely of a wait of unknown duration.
The track begins with eight bars in which only hear the sticks hitting the rim of a drum, like the ticking of a timepiece, on which Siouxsie surprise a capella: "I hope and hope / sleepwalking to the hourglass / on one side and the other / the pendulum has swung " . When the other instruments enter, you can feel his desire to invoke the figure of what you desire (the rate of dark jazz is also pure sexual tension) as well as how the course of life, daily actions, I do not care, the carried out with resignation while his mind remains a unique idea.
is an obvious romantic tone and noir but free of drama. Feelings are not swollen and does not consider making a sacrifice: it is more like a process that lives with apathy, having faith in one day receive compensation, and just when the end is entirely sincere:
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