Friday, July 8, 2050

A CURIOUS MANIFESTO

"Truly fertile Music, the only kind that will move us, that we shall truly appreciate, will be a Music conducive to Dream, which banishes all reason and analysis. One must not wish first to understand and then to feel. Art does not tolerate Reason." (Albert Camus)


(Kick-ass graphic courtesy of Rev. Heron. Check out her Cure blog: Underneath The Stars)

When I first learned about The Cure in 1985, it was an epiphanal event. It was as though up to that point I had simply swum through counterfeit experiences. For me, The Cure offered a refreshingly surrealistic take on life, both musically and appearance-wise. Physically, the band members' stylistic proclivity toward untamed coiffures, cartoonish clothing, and cosmetic countenances was jolting to my more conservative sartorial sensibilities. But that swiftly changed, as an era of fashion experimentation was inaugurated upon my Cure discovery.

But of course, it's the tunes that matter most, and when the strains of my first Cure song caressed my ears, it delivered a raw punch to my whole conceptualization of pop music. I had theretofore been enamored of middle-of-the-road radio titans, with their fairly straightforward pop renderings, and while I still hold a place in my heart for such bands, The Cure's more subtle, whimsical, and inventive aural and lyrical approach changed my life.

I learned about The Cure on accident - I was simply rifling through tapes at my local record haunt, when I happened across The Head on the Door. The cover was so intriguing I just had to purchase it, despite the fact that I had not yet heard the music contained therein. Don't judge a book by its cover, we are told - and yet the musical contents of the Head on the Door masterfully matched the tantalizingly bizarre cover. It was one happy fluke, discovering a band like this.


Twenty-three years later, I am still besotted with The Cure, and continue to be mesmerized by this off-kilter and cerebrally enthralling band. Indeed, I am more obsessed than ever with The Cure, for reasons that are rather murky to me. Better not to delve too deeply into a deconstruction of such a pathological compulsion, and just enjoy it for what it is!

This blog features as its piece de resistance an essay I have written linking The Cure with artists such as Miro and Rimbaud. It will also contain reviews by me of all Cure albums, reviews by me of selected Cure shows I have attended (14 total), and miscellaneous cerebral musings about the band. An Aesthetics section will also be added eventually, which will feature pictures of the boys, plus my favorite Cure-related artwork.

Hopefully you will find something compelling here; feel free to leave constructive commentary of your own as a contribution to the ongoing discourse about the best band of all times, The Cure.




Thursday, July 7, 2050

CURIOUSER AND CURIOUSER PART I: THE CURE AND THEIR ARTISTIC SIBLINGS

CURIOSER AND CURIOSER: THE CURE AND THEIR ARTISTIC SIBLINGS
by ALISON ROSS

All art is linked: literature finds its fraternal twins in music and visual arts, and film manages to meld all three into a seamless whole. For me, the Cure has certain spiritual siblings, if you will, in the literary and visual art worlds. For me, The Cure is the musical personification of Edgar Allan Poe, Arthur Rimbaud, Dr. Seuss, Alice in Wonderland (the book and Disney movie), Joan Miro, Salvador Dali, Edvard Munch, and Francisco Goya. The idea I’m striving for is to create a kind of artistically synthaesthetic portrait of The Cure.

ART

Spanish artist Joan Miro is the visual artist whose work I think most closely resembles the Cure’s pop music. His paintings have a whimsical, childlike style, yet there is a maze-like complexity that lurks beneath their simple facade. A lot of Cure pop music is also deceptively simple, boasting a childlike joviality. Yet, underneath it all is an intelligent design - an accomplished musical sense that is decidedly un-childlike. A Miro painting like “People and Dog in Sun” is paradoxically both impetuously childlike yet intensely intricate. That’s how I see a lot of Cure pop songs, such as “Why Can’t I Be You,” “Inbetween Days,” ‘Close to Me,” “Like Cockatoos,” “Let’s Go to Bed,” “Boys Don’t Cry,” “Caterpillar,” “High,” “Friday I’m in Love,” “The End of the World” and “(I Don’t Know What’s Going) On.” Other Miro paintings that capture quaint Cure-pop quirkiness include, “A Smile of the Flamboyant Wings,” “Pintura,” and “Red Sun.”

On the other hand, Miro can also resemble more melodic, softer Cure fare. Paintings like “Bleu I, II, and II,” are less intricate and more abstract pieces, and contain a soothing spaciousness, not unlike some Cure songs from the albums “Seventeen Seconds” or “Faith.”

The Cure’s lyrics and playfully offbeat pop music - the piano tinklings, swirling synthesizers, chiming guitars, Smith’s boyish howl - also evoke Miro colors and images - stark reds and blues, and whimsical faces and shapes.

The maniacally dark art of Francisco Goya’s Black Period finds its musical parallel, I think, in the Cure’s darkest work: “Pornography,” “Bloodflowers,” and bits of “Faith.” The psychedelic song “Bloodflowers,” in particular, is evocative of Goya’s brooding colors and eerie subject matter. The song lyrics are rather existential, recalling a Goya piece like “Old Men Eating” whose subject matter - two old men, one in a state of decay and one clearly already a corpse, with hollowed out eyes - parallels the song idea of the inevitable, if sometimes horrific, transience of life. The song also acts as dialogue between two people, one who negates life’s transience, and one who affirms it. The withered old man in Goya’s piece could be the person who negates it, while the corpse figure could represent the one who affirms it. The painting also features dim, earthy colors, reminding us of the dirt and flesh intrinsic to the Cure song title.

“Watching Me Fall” is another intensely dark Cure song from “Bloodflowers” that calls forth nightmare landscapes the likes of which Goya might paint. The Middle Eastern psychedelia of “Labyrinth” (from the Cure’s eponymous album), also evokes a Goyan anguish.

And on “Pornography,” nearly all the songs are like Goya’s paintings from his Black Period. A piece like “The 3rd of May 1808” acts as a nice visual partner to the political terror screaming out of “100 Years,” and “Old Men” eerily echoes “A Strange Day,” with the old, seemingly blind man and a haunting figure creeping closely behind him. “Goat” and “Saturn Devouring His Children” are additional Goya paintings that are easily paired with the horror-laden “Poronography” songs.

Some Cure songs also evoke scenes much like Edvard Munch paintings, with their thick, colorful swirls that highlight repressed agony. The infamous “Scream,” whose central character releases a silent howl of unbearable intensity, could be linked to many “ominously” melancholic Cure songs, especially some on “Disintegration,” such as “Plainsong,” “Prayers For Rain,” and “Same Deep Water as You,” as well as “The Loudest Sound,” from “Bloodflowers” and “Going Nowhere” and “This Morning” from The Cure’s self-titled effort.

“Last Dance” of course, could find its artistic kin in Munch’s “The Dance of Life,” both for the thematic link as well as the colors that the song evokes. All the synthesizer-laden songs on “Disintegration,” indeed, evoke yellows and reds, colors that Munch seems fond of, and are tied lyrically to the desperate themes inherent in Munch’s work.

The lyrics and mood of “The Walk,” plus most of the songs from the bizarrely experimental “The Top” bring to mind the surrealism of Salvador Dali. “The Walk” contains lyrically odd juxtapositions and wildly hallucinatory imagery, just as Dali paintings seem to pull their juxtaposed antithetical objects and images straight from drug-induced dreams.

The lyrics and music from “The Empty World,” among others on “The Top,” are strongly evocative of imagery the likes of which Dali might paint. Dali’s “Woman With Drawers” could symbolize the unstable protagonist of “Birdmad Girl,” as both pieces possess a disturbingly wacky sense of reality.

Furthermore, Robert Smith’s crooning on most of “The Top” songs sounds as though he was attempting to achieve a “melting” singing style, which calls to mind Dali’s infamous melting clocks picture, “The Persistence of Memory.” Indeed, many Dali paintings would seem to be the visual manifestation of Smiths’ voice - landscapes of dreamy despair.

LITERATURE AND FILM

Lyrically, songs from “Pornography, “The Top” as well as scattered Cure songs on “Disintegration” and other albums resemble the abstract surrealistic style of French poet Arthur Rimbaud. Indeed, Rimbaud himself felt that in order to reach one’s creative zenith, that person would need to indulge in a “total derangement of the senses.” Robert Smith seems to have done that during the recording sessions of “Pornography” with his infamous LSD binges. Rimbaud had a proclivity for crafting jolting juxtapositions that created startling imagery, as does Robert Smith.

The imagery that some Cure songs evoke is decidedly Edgar Allen Poe-esque, with their lyrical dwellings on wintry seasons and the sea. Poe, indeed, was obsessed with the sea, as Smith seems to be. Poe’s poetry is also suffused with themes of love and death, as many of Smith’s lyrics are. Songs such as “Pictures of You” inspire images of passion and death in snow-drenched surroundings.

Edgar Allen Poe also dealt extensively with the ideas of night, shadows, angels, the stars, and the moon in his poetry; Smith’s lyrics have a similar preoccupation with such symbolic imagery.

Robert Smith’s voice is how I would imagine Edgar Allen Poe might sing - in a kind of haunting wail. And at times, the silly, faux-opera style that Robert invokes (“Why Can’t I Be You,” “End of the World,” “Taking Off,” “(I Don’t Know What’s Going) On,” others) reminds me of how a Dr. Seuss character would sing. As has been noted by other writers, his voice also has the uncanny ability to evoke seasonal moods, and I think it even has the ability to call forth imagery. For me, the texture of Smith’s tear-soaked voice calls to mind wintry landscapes and surrealistic impressions.

In the song “High,” from “Wish,” Robert Smith seems to be channeling the playful spirit of Dr. Seuss, as the song lyrics feature Seussian wordplay. In particular, Smith uses nouns as adjectives (“sky as a kite”) adjectives as nouns (“the how you move”), and nouns as verbs (“the way you fur”). Seuss was fond of these grammatical idosyncracies also; for example, he has a story whose title uses a verb as a noun - The Thinks you Can Think - and in Oh Say Can you Say, Seuss speaks of “the quacks Blue quacks,” using the first “quack” unusually as a noun and the second “quack” in its more ubiquitous usage, as a verb.

Also in “High,” Smith makes use of the absurd logic and nonsensical similes that that Seuss might use: “When I see you sticky as lips/as licky as tricks/I can’t lick that far.”

The Cure singles “Boys Don’t Cry,” “Friday in Love,” “Cut Here” and “Taking Off” and “(I Don’t Know What’s Going) On” also have Seussian similarities. In “Boys Don’t Cry,” “Taking Off,” and “(I Don’t Know What’s Going) On” the Seuss spirit is alive in the meter, childlike tone, and lryical execution. “Taking Off” contains examples of internal rhyme (“But tonight I climb with you / Tonight / So high with you / Tonight I shine with you/ Tonight / Oh I'm so alive with you” ) are similar to Seuss’s own rhyme scheme.

And “Friday I’m in Love” contains the meter and childike cataloging the likes of which Seuss might employ: “I don’t care if Monday’s blue/ Tuesday’s gray and Wednesday too/Thursday I don’t care about you/it’s Friday I’m in love,” and “Monday you can break my heart/Tuesday, Wednesday fall apart/Thursday doesn’t even start/it’s Friday I’m in Love.” Compare this to “Yes some are red/And some are blue/Some are old/And some are new,” from One Fish Two Fish Red Fish Blue Fish or “I do not like them in a house/I do not like them with a mouse/I do not like them here or there/I do not like them anywhere,” from Green Eggs and Ham.

In “Cut Here,” even though the lyrics focus on loss and the anger that trails that loss, the lines “Dizzy Mr. Busy/Fizzy” and “Silly Mr. Dilly” remind us of the Seussian invention of rhyming characters (Yertle the Turtle, Daisy-Head Maisey, etc.).

Smith’s singing on these singles sound like pre-pubescent warblings, sometimes even like the anguished yelps of small boys. This serves to further the Seussian parallels; young children’s tender voices often erupt from the pages of Seuss’s works.

The boyish, dreamy hand and facial gestures that Robert makes on stage and in videos remind me of Alice in Wonderland creatures, like the mischievous Cheshire Cat and his disappearing smile, or the characters at the Mad Hatter’s Tea Party. Indeed, many Cure videos are a lot like the Disney movie of “Alice in Wonderland.” They have an inherent upside-down logic to them, their own absurdist sense. “The Caterpillar,” my favorite of all Cure videos, embodies Lewis Caroll-inspired imagery - the snaky caterpillar puppet at the beginning, the wobbly piano, the glimpses of butterflies fluttering around in a glass garden. Even Robert Smith’s make-up smeared visage, tumultuous, towering coif and sinuous dream-like movements call to mind Carroll’s “through the looking glass” world of misshapen logic. Smith seems like an otherworldly creature in this video, a not-quite human character out of some warped children’s book. In many of the Cure videos Smith assumes a comic book persona that is both joyously naive yet quaintly impish.

“The Love Cats,” “Why Can’t I Be You” and “Friday I’m in Love” videos are also parallel to the “Alice in Wonderland” movie, the first two with their slightly sinister playfulness, and the last one with its capricious, ever-changing backdrop and costumes.

Certainly a more exhaustive treatment of The Cure and their artistic kin could lend an even more dramatic understanding of how the band’s magical music manages to weave in the sensibilities of the visual and literary arts.* The preceding can only scratch the surface of such intriguing analogues.

*Filmmaker David Lynch and visual artist Heronymous Bosch are two artists whose Cure-kinship remains as yet unexplored by me; look for an update sometime soon!

Wednesday, July 6, 2050

CURIOUSER AND CURIOUSER PART II: THE CURE ART PARALLELS

MUNCH/DALI/MIRO/GOYA

MUNCH


Girl on a Bridge


Vampire


Dance of Life


Ashes

DALI


Woman with Drawers


Persistence of Memory


The Temptation of St. Anthony

MIRO


People and Dog Under Sun


Bleu II


Pintura

GOYA


The 3rd of May 1808



Two Old Men Eating



Saturn Devouring His Children


Two Old Men

CURIOUSER AND CURIOUSER PART III: THE CURE LITERARY PARALLELS

>
RIMBAUD/POE/SEUSS

Arthur Rimbaud: Selected lines



“The wolves howl back from the violet forest: and on the horizon the sky is hell-red”

“You will close your eyes, so as not to see through the glass, the evening shadows pulling faces”

“a thousand dreams burn softly inside of me”

“oh! how I wish i were laid among the Dead who are drenched in the waters of the night!”

“I was full young, and Christ tainted my breath”

“I have dreamed of the green night of the dazzled snows, the kiss rising slowly to the eyes of the seas.”

“Ecstasy, nightmare, sleep in a nest of flames.”

“...behold that it ends with angels of fire and ice”

“Afterwards, a ballet of well-known seas and nights...”

(From the books Saison en Enfer and Les Illuminations)


Edgar Allen Poe: Selected stanzas



Dim vales - and shadowy floods -
and cloudy-looking woods,
Whose forms we can’t discover
For the tears that drip all over:
Huge moons there wax or wane -
again--again--again”

(From “Fairy-Land”)

At midnight, in the month of June
I stand beneath the mystic moon.
An opiate vapor, dewy, dim
Exhales from out her golden rim
And softly dripping, drop by drop
Upon the quite mountaintop
Steals drowsily and musically
Into the universal valley.

(From “The Sleeper”)

The angles, not half so happy in Heaven,
went envying her and me-
Yes! That was the reason (as all men know,
In the kingdom by the sea)
That the wind came out of the cloud
chilling and killing my Annabel Lee.

(From “Annabel Lee”)


Dr. Seuss: Scattered Lines



Yes, some are red. And some are blue.
Some are old. And some are new.

Some are sad. And some are glad.

And some are very very bad.

We see them come.
We see them go.
Some are fast.
And some are slow.
Some are high.
And some are low.

(From One Fish Two Fish Red Fish Blue Fish)


There are so many Thinks
That a Thinker can think!

Think of Light.
Think of Bright.
Think of Stairs
in the Night.

Oh the thinks you can think up if only you try!

(From The Thinks You Can Think!)


Robert Smith: Scattered lyrics


I drown at night in your house
pretending to swim

(From “In Your House”)

Sleeping children in their blue soft rooms
still dream

(From “Primary”)

Rape me like a child
christened in blood
painted like an unknown saint

(From “Faith”)

Scream
As she tries to push him over
Helpless and sick
With teeth of madness
Jump jump dance and sing
Sideways across the desert
A charcoal face
Bites my hand
Time is sweet
Derange and disengage everything

(From “A Short Term Effect”)

Catching haloes on the moon
gives my hands the shapes of angels

(From “The Hanging Garden”)

And dust on the lips of a vision of hell
I laughed in the mirror for the first time in a year

(From “The Figurehead”)
Give me your eyes
that I might see the blind man kissing my hands
The sun is humming
my head turns to dust as he plays on his knees

(From “A Strange Day”)

I was cold as I mouthed the words
and crawled across the mirror

Ice in my eyes
and eyes like ice don’t move
screaming at the moon
another past time
your name
like ice in my heart

(From “Cold”)

An image of the queen
echoes round the sweating bed
sour yellow sounds inside my head

Pushing my life through your open eyes

(From “Pornography”)


I called you after midnight
Then ran until I burst
I passed the howling woman
and stood outside your door

I kissed you in the water
and made your dry lips sing
I saw you look like a Japanese baby
In an instant I remembered everything

(From “The Walk”)

The sky coloured perfect
As the man slipped away
Waving with a last vanilla smile...

(From “Lament”)

But we slept all night in the virgin's bed
And dreamed of death
And breathed like sick dogs

(From “Shake Dog Shake”)

Shapes in the drink like Christ
Cracks in the pale blue wall

Flowers in your mouth and the same dry song
The routine from laughter land
Sixteen white legs and a row of teeth
They watch you in secrecy

(From “Piggy in the Mirror”)


She flies outside this cage
Singing girlmad words
I keep her dark thoughts deep inside
As black as stone

(From “Birdmad Girl”)

Get away from me
Leave me alone
Like the pig on the stairs
Hanging
In a groovy purple shirt

Slit the cats like cheese
Then eat the sweet sticky things

Blood thick swimming round your feet
As you're choking
Choking
Choking on the fleshy words

(From “Give Me It”)

As stiff as toys
And tall as men
And swaying like the wind torn trees
She talked about the empty world
With eyes like poisoned birds

(From “The Empty World”)

A nightmare of you
Of death in the pool
I see no further now than this dream
The trembling hands of the trembling man
Hold my mouth
To hold in a scream

I am paralysed by the Blood of Christ
Though it clouds my eyes
I can never stop

(From “Kyoto Song”)

If only tonight we could sleep
In a bed made of flowers
If only tonight we could fall
In a deathless spell
If only tonight we could slide
Into deep black water
And breathe
And breathe...

Then an angel would come
With burning eyes like stars
And bury us deep
In his velvet arms

And the rain would cry
As our faces slipped away
And the rain would cry

(“If Only Tonight We Could Sleep”)


You
Soft and only
You
Lost and lonely
You
Strange as angels
Dancing in the deepest oceans
Twisting in the water
You're just like a dream...


I opened up my eyes
And found myself alone
Alone
Alone above a raging sea
That stole the only girl I loved
And drowned her deep inside of me

(From “Just Like Heaven”)


I found you
In a chain of flowers
Sleeping like a marble girl
Sleeping in another world...

(From “Chain of Flowers”)

And in my dreams I was a child
Flowers in my mouth and in my eyes
And I was floating through the colours of a sky
Up to the stars and angels

Up up up to heaven
Up up up forever
Up up up to heaven
Up up up forever

(From “To the Sky”)

On candystripe legs the spiderman comes
Softly through the shadow of the evening sun
Stealing past the windows of the blissfully dead
Looking for the victim shivering in bed
Searching out fear in the gathering gloom

(From “Lullaby”)

Remembering
You standing quiet in the rain
As I ran to your heart to be near
And we kissed as the sky fell in
Holding you close
How I always held close in your fear
Remembering
You running soft through the night
You were bigger and brighter and wider than snow
And screamed at the make-believe
Screamed at the sky
And you finally found all your courage
To let it all go

Remembering
You fallen into my arms
Crying for the death of your heart
You were stone white
So delicate
Lost in the cold
You were always so lost in the dark
Remembering
You how you used to be
Slow drowned
You were angels
So much more than everything

(From “Pictures of You”)

Dropping through sky
Through the glass of the roof
Through the roof of your mouth
Through the mouth of your eye
Through the eye of the needle
It's easier for me to get closer to heaven
Than ever feel whole again

(From “Disintegration”)

As I spitting splitting blood red
Breaking windows in my heart
And the past is taunting
Fear of ghosts
Is forcing me apart

(From “Fear of Ghosts”)

Hopelessly drift
In the eyes of the ghost again
Down on my knees
And my hands in the air again
Pushing my face in the memory of you again

(From “Untitled”)

When I see you sticky as lips
As licky as trips
I can't lick that far
But when you pout
The way you shout out loud
It makes me want to start
And when I see you happy as a girl
That swims in a world of magic show
It makes me bite my fingers through
To think I could've let you go

And when I see you kitten as a cat
Yeah as smitten as that
I can't get that small
Tthe way you fur
The how you purr
It makes me want to paw you all
And when I see you happy as a girl
That lives in a world of make-believe
It makes me pull my hair all out
To think I could've let you leave

(From “High”)

And so we watch the sun come up
From the edge of the deep green sea
And she listens like her head's on fire

I've never been so
Colourfully-see-through-head before
I've never been so
Wonderfully-me-you-want-some-more

(From “The Edge of the Deep Green Sea”)

I don't care if Mondays black
Tuesday Wednesday heart attack
Thursday never looking back
It's Friday I'm in love

(From “Friday I’m in Love”)
Remember how it used to be
When the stars would fill the sky
Remember how we used to dream
Those nights would never end
Those nights would never end

(From “To Wish Impossible Things”)

I lift my lips from kissing you
To kiss the sky
Cloud soft and blue
And slow the sun melts down
Into your golden words for me

(From “This Twilight Garden”)

"Oh don't talk of love" the shadows purr
Murmuring me away from you
"Don't talk of worlds that never were
The end is all that's ever true
There's nothing you can ever say
Nothing you can ever do... "
Still every night I burn
Every night I scream your name

But every night I burn
Every night I call your name
Every night I burn
Every night I fall again
Every night I burn
Scream the animal scream
Every night I burn
Dream the crow black dream

(From “Burn”)

THAT WAS THE JUPITER CRASH
DRAWN TOO CLOSE AND GONE IN A FLASH
JUST A FEW BRUISES IN THE REGION OF THE SPLASH...

SHE LEFT TO THE SOUND OF THE SEA
SHE JUST DRIFTED AWAY FROM ME
SO MUCH FOR GRAVITY...

(From “Jupiter Crash”)

THERE'S A THIN WHITE COLD NEW MOON AND THE SNOW IS COMING DOWN
AND THE NEON BRIGHT TOKYO LIGHTS FLICKER THROUGH THE CROWD
I'VE BEEN DRIFTING AROUND FOR HOURS AND I'M LOST AND I'M TIRED
WHEN A WHISPER IN MY EAR INSATIABLE BREATHES
"WHY DON'T YOU FOLLOW ME INSIDE?... "

(From “Watching Me Fall”)

NOTHING I AM
NOTHING I DREAM
NOTHING IS NEW
NOTHING I THINK OR BELIEVE IN OR SAY
NOTHING IS TRUE

(From “The Last Day of Summer”)

"I SAID I LOVE YOU" I SAID... YOU DIDN'T SAY A WORD
JUST HELD YOUR HANDS TO YOUR SHINING EYES
AND I WATCHED AS THE TEARS RAN THROUGH YOUR FINGERS
HELD YOUR HANDS TO YOUR SHINING EYES AND CRIED...

(From “There is No If”)

"THIS DREAM NEVER ENDS" YOU SAID
"THIS FEELING NEVER GOES
THE TIME WILL NEVER COME TO SLIP AWAY"
"THIS WAVE NEVER BREAKS" YOU SAID
"THIS SUN NEVER SETS AGAIN
THESE FLOWERS WILL NEVER FADE"
"THIS WORLD NEVER STOPS" YOU SAID
"THIS WONDER NEVER LEAVES
THE TIME WILL NEVER COME TO SAY GOODBYE"
"THIS TIDE NEVER TURNS" YOU SAID
"THIS NIGHT NEVER FALLS AGAIN”

(From “Bloodflowers”)

BUT HOW MANY TIMES CAN I WALK AWAY
AND WISH "IF ONLY... "
HOW MANY TIMES CAN I TALK THIS WAY
AND WISH "IF ONLY... "
KEEP ON MAKING THE SAME MISTAKE
KEEP ON ACHING THE SAME HEARTBREAK

(From “Cut Here”)

I had to think to breathe
my heart burst
we moved in silence really slowly away from the world
as we drove a strange silence
that moment
nothing will ever be the same
nothing will ever be the same
nothing will ever be the same


In his eyes as we turn no eternity of life
In his eyes as we turn no infinity of why
In his eyes as we turn no beautiful goodbye


(From “This Morning”)

Say it's the same sun spinning in the same sky
Say it's the same stars streaming in the same night
Tell me it's the same world whirling through the same space
Tell me it's the same time tripping through the same day
Oh tell me it's the same boy burning in the same bed
Tell me it's the same blood breaking in the same head
Say it's the same taste taking down the same kiss

But the sun is cold - the sky is wrong
The stars are black  - the night is gone
The world is still - the space is stopped
The time is out - the day is dropped

(From “Labyrinth”)