Kevin Cole

Lucy Dacus will be hitting the road beginning this September, with a stop at Neptune Theatre on October 2nd! Ticket info here: lucydacus.com In a statement about this track, Dacus said, "I thought I was writing 'Hot & Heavy' about an old friend, but I realized along the way that it was just about me outgrowing past versions of myself. So much of life is submitting to change and saying goodbye even if you don’t want to. Now whenever I go to places that used to be significant to me, it feels like trespassing the past. I know that the teen version of me wouldn’t approve of me now, and that’s embarrassing and a little bit heartbreaking, even if I know intellectually that I like my life and who I am." The track’s video, directed by Dacus and Marin Leong, is equally brilliant. It depicts the Richmond, VA singer-songwriter at the historic Byrd Theatre eating popcorn with blue flowers and mysteriously watching, well, old home videos. "I knew I wanted to include some of the home video footage that my dad took of me while I was growing up. I wanted to visualize the moment when you first reflect on your childhood, which I think can also be the moment that childhood is over," she said. bit.ly Catch the video here: bit.ly

Released on this day in 1977! Whoa! Young wrote this tale of intense longing about a specific girl, but it wasn't nearly as serious as it sounds; he had already broken up with actress Carrie Snodgress and had yet to meet his wife Pegi Morton. The woman in question was a girl he came across in a bar. In Neil Young's biography Shakey by Jimmy McDonough, it's revealed that during the summer of 1975, Young was recovering from surgery on his vocal cords and couldn't talk. This didn't stop him from going out and having a good time with his friends, including his neighbor Taylor Phelps, who said: "Neil, Jim Russell, David Cline and I went to Venturi's in La Honda. We were really f--ked up. Neil had this amazing intense attraction to this particular woman named Gail - it didn't happen, he didn't go home with her. We go back to the ranch and Neil started playing. Young was completely possessed, pacing around the room, hunched over a Stringman keyboard pounding out the song." Young took the song to his band Crazy Horse with just two lines written on an envelope: "You are like a hurricane, there's calm in yer eye." The band struggled with it for 10 days on Young's ranch before a breakthrough. Crazy Horse guitarist Poncho Sampedro said: "We kept playing it two guitars, bass, drums, but it wasn't in the pocket. Neil didn't have enough room to solo. He didn't like the rhythm I was playing on guitar. One day we were done recording and the Stringman was sitting there. I started diddling with it, just playing the chords simply, and Neil said, 'Y'know, maybe that's the way to do it - let's try it.' If you listen to the take on the record, there's no beginning, no count-off, it just goes woom! They just turned on the machines when they heard us playing again, 'cause we were done for the day. Neil goes, 'Yeah, I think that's how it goes. Just like that.' And that was the take. That's the only time we ever played it that way." bit.ly

KG&tLW will be begin playing live dates starting in June, with a Seattle stop at the Moore Theatre on October 6th; more date info here: bit.ly Serving as both a companion piece to its 2020 predecessor K.G. and a stand-alone work in its own right, L.W. sees the Melbourne-based innovators produce a truly original work. After a full decade of increasingly frenzied productivity, the inability to tour during 2020 and into 2021 allowed the band to find a window of time in which, as frontman Stu Mackenzie puts it, "reset our brains, and try to figure out how to do a different thing." bit.ly

Pond frontman and songwriter Nick Allbrook relates, "I dunno if it’s got anything to do with COVID stuff, but I’ve really been craving collaboration and immediacy, and that’s definitely been a part of writing." "I’m loving the feeling of things being created in the moment, instead of laboured over in solitude with a furrowed brow. We ended up working on everything really fucking hard and long, but the initial sessions and ideas were done recklessly. I’ve loved the fun and spontaneity, watching something grow without knowing the end point, like a vine flowing in the sun." ab.co

Van Etten and Olsen feature in a beautiful interview you can enjoy here in full: bit.ly Van Etten: I wrote "Like I Used To" last year as COVID was hitting. It’s such an effort to say to myself, "I want to try to write a feel-good song." Make it a little bit faster than normal, which is still slow for me, and just try to get myself in a different tempo and mindset and energy while still reflecting on what’s actually happening. At the beginning of all this, I found myself falling into old habits now that I was home. It’s like laughing at my adult self that stays up too late and has a couple of extra drinks than I’m supposed to. It was more of a joke to myself at first when I started it. And I did put it aside. You and I had been talking when we were working on the "Femme Fatale" cover, and I was just like, "You know what? I’m going to push my luck here." But I had this internal dialogue—I felt like I was singing like you. I was paranoid that I was ripping you off. And so I was like, "I’m just going to send it to her and see if she’s going to call me on it." Olsen: Your writing and singing style remains really unique. Honestly, this is just so cool that we were able to meet each other with our voices and with our writing and go back and forth on this. A lot of people over the years are like, “You guys sound alike,” and I think we sound really distinctly different, but with harmonies you learn to step back or to match someone’s style. Harmonizing is not about sticking out, necessarily. It’s about making something strong. I just have to keep my head down and continue to sing and play music. People have compared us to each other, but I’ve never felt weird about it. I’ve always felt like the relationship between us has been really strong. There are definitely artists where I’m like, “"I should wait to listen to it until it’s done" because I don’t want to accidentally create something that’s too much like theirs. But with this song, it was an opportunity for us to get together and make something with both of our styles attached to it, and I love that.

"Put most simply, I think that 'Faith Healer' is a song about vices, both the obvious and the more insidious ways that they show up in the human experience," Baker explains. "There are so many channels and behaviors that we use to placate discomfort unhealthily which exist outside the formal definition of addiction. I (and so many other people) are willing to believe whomever — a political pundit, a preacher, a drug dealer, an energy healer — when they promise healing, and how that willingness, however genuine, might actually impede healing." bit.ly Watch Julien Baker sharing a live performance recorded exclusively for KEXP, recorded January 6, 2021: youtu.be Julien Baker, with special guests DEHD & Katie Malco, will be playing LIVE at The Moore Theatre on November 10, 2021!! bit.ly

Celebrating Siouxsie's Sioux birthday; born as Susan Janet Ballion, she turns 64 today! This song describes the city of Pompeii, destroyed in a volcanic eruption in 79 AD. Imagery describing the volcano and its magma chamber, the condition of the victims of the eruption, and the subsequent discovery and excavation of the city comprises the bulk of the lyrics. The lyrics mention a shrine to Lares Familiares. Siouxsie and the Banshees are seen performing the song in the 1986 movie Out of Bounds, and the song appears on the soundtrack album. The song was featured in the 1997 film Grosse Pointe Blank, the 2017 spy film Atomic Blonde and its soundtrack, and the 2018 second season of the Netflix teen drama series 13 Reasons Why and its soundtrack. The song featured in the final credits of episode 9 of the second season of the comedic series The Marvelous Mrs. Maisel. It also appears at the beginning of the eighth episode of the third season of Glow. Scenes from the promo video are seen in Brazilian film Califórnia. bit.ly

This track is the first single from Thirstier, the new TORRES album, out July 30 via Merge. The new single is an upbeat rocker that Mackenzie Scott says shows off a newfound sense of joy she has felt in her life recently: "I’ve been conjuring this deep, deep joy that I honestly didn’t feel for most of my life. I feel like a rock within myself. And I’ve started to feel that I have what it takes to help other people conjure their joy, too." She also says of the album, "I wanted to channel my intensity into something that felt positive and constructive, as opposed to being intense in a destructive or eviscerating way. I love the idea that intensity can actually be something life-saving or something joyous." bit.ly TORRES will be playing at Tractor Tavern on Monday, September 27. bit.ly torrestorrestorres.bandcamp.com

The son of renowned songwriter Peter Perrett - frontman for punk romantics The Only Ones - Jamie later played a key role in Peter Doherty's indie project Babyshambles. "A song about the duality and reality of love," he shares, 'Masquerade Of Love' is all neat about-turns, melodic tangents, and super play-on-words. A song about heaven and hell and all that lies between. The word ‘masquerade’ encapsulates both the joy and allure of a dance or ball with the darker, hidden side of relationships. It’s about a break-up and difficult aftermath and the feeling that comes with it of being stranded and suspended in no man’s land as well as the rejoicing of a beautiful and powerful relationship at the same time." bit.ly

"You can definitely feel the growing Anglophobia [in Ireland],” says FDC's Grian Chatten. This idea is probed on "Boys in the Better Land," where a taxi driver from a multicultural background asserts his own sense of Irishness by smoking Carrolls cigarettes and yelling,"Brits out!" Chatten continues, "He has suddenly found a bit of meaning in considering himself to be Irish and Anglophobic or anti-British. It’s just to show how flippant these things are and how much they are based on ego and wanting to feel part of something, as opposed to a genuine hatred of something else." bit.ly

Upcoming tribute album, The Problem of Leisure: A Celebration of Andy Gill and Gang of Four, is out next week, featuring an impressive lineup of artists covering and remixing classic Gang of Four songs, including IDLES, who have taken on one of Go4's most iconic songs (and Gill riffs), "Damaged Goods." IDLES' version of the song doesn't deviate too far from the original, though they mutate the riff just a little, and frontman Joe Talbot brings his own unique gruff energy to the song. "IDLES does not exist without Gang Of Four," the band said in a statement. "'Damaged Goods' still sounds new and exciting after the millionth listen. We jumped at the chance to just to play it, let alone record it. It was an honour, a joy and a privilege." The Problem of Leisure, out June 4, also features Tom Morello & Serj Tankian, Warpaint, Massive Attack's 3-D, Helmet, Gary Numan, La Roux, Red Hot Chili Peppers' Flea & John Frusciante, Killing Joke, and more. bit.ly

Released on this day in 1977, "God Save The Queen" was released in the UK as the band's second single and was featured on their only album, Never Mind the Bollocks, Here's the Sex Pistols. The song was released during Queen Elizabeth II's Silver Jubilee. The record's lyrics, as well as the cover, were controversial at the time, and both the BBC and the Independent Broadcasting Authority refused to play the song. The song reached number one on the NME charts in the UK, but only made it to number two on the official UK Singles Chart as used by the BBC. This led to accusations by some that the charts had been "fixed" to prevent the song from reaching number one.

Afrique Victime is Moctar’s second full-length album, and his first since signing to Matador. Moctar shared of the track: "'Taliat' means woman. In our community, women are queens, they have a lot of power, that’s why I use the term taliat to talk about them. A woman in the Tuareg community has to be protected, but she also has to be treated as equal." bit.ly Moctar's Bandcamp: bit.ly

Ambar was born in the U.S. to a Dominican mother and a Mexican father, and she started singing at the age of 5. In those early years, she’d convince her abuela to record videos of her singing in her music corner, where she’d play with a toy microphone and perform for her family. As she got older, she began to post covers on YouTube—videos that still lurk in the depths of the internet, though Ambar now calls them "very scary." She is completely self-taught; she learned piano, guitar, and ukulele on her own, and turned to YouTube once again to refine her vocal technique when she started writing original music at 15. She spent the ages of 5 to 7 moving between the Dominican Republic, where she lived with her grandmother, and New Jersey, where her mom resided. Her memories of this time are scarce, but she recalls small bursts of joy she’d experience when her mother sent her gifts from the States. "Getting Heelys in the mail while I lived in the D.R. was such an iconic moment in my childhood," she remembers, giggling. "I was rolling everywhere." Eventually, Ambar moved to Jersey permanently. But her family was separated once again when she turned 8, as her father was deported to Mexico. Ambar wouldn’t see her dad in person again until 2019, when she traveled to Cabo San Lucas to reunite with him. That trip was captured in a 20-minute documentary called Llegaron Las Flores (The Flowers Have Arrived). By offering her own experience, she aimed to shed light on the harsh realities of family separation. "Even though so many people in my family had gone through similar things, nobody really spoke about it," she says. "But there’s people out there that need to see that [others] are experiencing similar situations. I wanted people to not feel alone." bit.ly

"Lose Yourself to Dance" is a disco and funk song in the key of B♭ minor with a tempo of 100 BPM. Daft Punk expressed that the song was the result of a desire to create dance music with live drummers. Thomas Bangalter elaborated that they wished to redefine dance music as "something lighter or something more [primal]", and that the song is meant to evoke the sense of being unified and connected on the dance floor. bit.ly Singer Pharrell Williams likened this track to David Bowie's classic mid-'80s cut with Mick Jagger, "Dancing In The Street." "'Lose Yourself To Dance' makes me feel like walking down the street in the middle of the night in London and it's 1984, 1985," he told Vibe magazine. "I don't hear '70s in that at all. For me, it doesn't sound at all like a Bowie record, but I feel like David Bowie would have loved that record. He could actually sing it."

This track will be released as a Record Store Day 12" exclusive on June 12th, featuring artwork by the late abstract artist Sir Terry Frost. Despite its gloomy title, "'The Darkness That You Fear' is a hopeful piece of music," the duo’s Tom Rowlands said in a statement. "When we found the combination of the different voices worked set to the flow of the music, it made us feel optimistic—like it was something we wanted to share." The gorgeous animated video was directed by @ruffmercy -- the video combines archive rave footage from the mid to late 90’s with hand painted Super 8 film textures and hand drawn animation. "I love using colour to create chaos and evoke emotions and this was the perfect project to do that." youtu.be

Ishmael Butler has released a new video for his latest single '20 Gear Science' with his most recent project, Shabazz Palaces. Shabazz Palaces recently became a solo project for Butler after multi-instrumentalist Tendai Maraire stepped away from the group in 2020. Keeping with his Washington roots, Butler released Shabazz Palaces’ latest album The Don of Diamond Dreams on legendary independent label Sub Pop. Even the song’s video takes place in the unmistakably dreary woodland setting of Seattle, bringing the hometown video full circle. The video has an entire narrative built around it. According to the video’s description: "While on vacation at their Baška hideaway retired Cantù basketball star Capricio ‘Prici’ Drogba and his girlfriend Glo Moonlit must deal with the strange interloper that has appeared down by the pool." Butler appears as both Drogba and the pool boy, with the two swapping places inside and outside the house by the video’s conclusion. bit.ly Watch the video here: bit.ly

The musical project of Vietnamese American singer and scholar Julian Saporiti, No-No Boy shares this about this track, and how it relates to the current fight for justice and representation in the AAPI community: "An all-Asian American big band who formed in a Wyoming concentration camp during WWII—how could I not be captivated by that story? I went to a jazz college, studied jazz history, and never learned about ANY musicians who looked like me. It was only after I moved to Wyoming and saw this photograph of the George Igawa Orchestra that I realized, as an Asian American musician, I am part of a rich lineage. "A decade later, I have this pile of songs illuminating a diverse array of Asian American and immigrant stories which sadly, seem more relevant now than ever and it all started with 'The Best God Damn Band in Wyoming.' "This band would hit the road to play school proms and town dances only to go back behind barbed wire after the gig. And Igawa himself should be taught about as a musical pioneer who fused Japanese instruments and music with his big band. To play music at all during a situation like the Japanese American Incarceration was astounding and I'm happy that through this little tune a few more people will know about this band. "Who knows, maybe their story can be a gateway into understanding the complex, diverse and rich history of Asian Americans. The George Igawa Orchestra deserves a novel or a movie, but at least, now, they have a song." Read more from Janice Headley's interview with Julian Saporiti (No-No Boy): bit.ly To see the rest of Kevin's Bandcamp Friday picks inspired by KEXP's Pushing Boundaries: bit.ly

Made up of large swathes of widescreen, technicolour indie-pop and quieter, more introspective moments, "Today We’re The Greatest" is a record made for open roads. It’s interesting given just how made for travel that this record feels, that its creation was more much stationary than its predecessors’. Indeed, where the band’s 2018 debut was written, recorded and mixed on the road across various tours, this was record in Los Angeles and mixed throughout 2020, a year when travel was all but impossible. As such, Today We’re The Greatest is calmer and more considered record; the drastic reduction in pace of life allowing frontwoman Hannah Joy’s lyricism to become more open and honest than ever before. Though this dropping of her guard can’t just be attributed to both her marriage to bandmate Tim Fitz and the birth of their first child, it’s these two events which inform much of the record, resulting in an album that’s both heartfelt and sincere and utterly irresistible in the process. bit.ly

"'I’M RIGHT BACK IN IT' is tough internal talk in an attempt to call myself out in a semi-loving way," says Pronoun, aka Berklee grad and Brooklyn artist Alyse Vellturo. "It’s an effort to talk myself down from an anxiety / self-depreciation episode, but when the chorus enters it’s the counterpoint of this voice of reason that’s like, 'Ha, no, i’m not having this right now, existing in itself is driving me crazy, let me spiral.'" She adds: "It continues the theme of conversing with myself, looking in the mirror, and dissecting what’s honestly going on internally that’s making me so unhappy. It shows the two different sides of me, one’s logistical and reasonable, the other is sticking its tongue out." "I’M RIGHT BACK IN IT" is the latest offering from a new EP, OMG I MADE IT, from Pronoun, and it hits June 11 via Wax Bodega.

Formally known as "Now, Now Every Children" this band was formed in 2003 by a pair of high school marching band friends from Blaine, Minnesota. After releasing the beloved Threads in 2012, extensive touring and creative anxiety led Now, Now to take its time with a follow-up. It's the kind of wait that can send both fans and musicians into a vicious cycle: one impatient for results, the other spiraling into self-doubt. Meanwhile, following creative differences during the songwriting process, Jess Abbott left the band to pursue Tancred full-time. There are many reasons it took KC Dalager and Brad Hale six years to make Saved, but mostly it seems that they needed saving themselves — from their own inhibitions and outside expectations — in order to be fulfilled by the music they wanted to create. n.pr

A beautiful dedication from a listener, who writes, "Our son went away 2 days ago for treatment for a co-occurring disorder, which is tech-speak for depression plus other issues. At his best he is a tremendously empathetic person. That’s why the lyrics of this song are so powerful to me. I hope he can listen one day, and know that we understand how hard this past year has been for him, along with a world of others. "It goes out to my beautiful son, and everyone else who knows they are more than this time, more than this season we’re in. I’m also grateful to the FF for writing it, beautiful." Watch a gorgeous live performance of this song, filmed by Robin Pecknold's brother, Sean, at Brooklyn’s St. Ann & the Holy Trinity Church: bit.ly

Born Anaïs Oluwatoyin Estelle Marinho, Arlo Parks was raised in Hammersmith, West London. She is half Nigerian, quarter Chadian and quarter French. Her mother was born in Paris, and Marinho learned to speak French before she did English. Parks chose her stage name in the manner of King Krule and Frank Ocean. In 2018, she began uploading demos to BBC Music Introducing which caught the attention of BBC Radio 1 DJ Jess Iszatt who distributed these demos to Ali Raymond of Beatnik Creative, who soon began managing Parks. She made her solo debut when she released the song "Cola" through Beatnik Records in November 2018, and announced the release of her debut EP, Super Sad Generation. She told Line of Best Fit that the song is "a reminder that betrayal is inevitable when it comes to pretty people that think flowers fix everything." Olivia Swash wrote that the vocals on the song "flourish thanks to [Parks'] creative writing background, with her delicate tone taking centre stage against the gently plodding guitars and soft crackle of vinyl." bit.ly

Daníel Hjálmtýsson described this track on his Bandcamp: "The song laments the experience of moving far away from everything you've ever known and finding yourself torn in the middle of nowhere without knowing who and what to lean on for guidance, peace or comfort. Fearing loss of connection to yourself and those around you. Facing yourself, your demons, and your dogs on a new and foreign battleground." The Reykjavik-born musician released the track "Birds" in 2020, and it was selected by Kevin Cole as KEXP's Song of the Day on May 5, 2020: bit.ly Daníel Hjálmtýsson is scheduled to perform live at the Secret Solstice Festival on August 15 in Reykjavik: bit.ly

From Lanegan’s 10th studio release, “Nocturne” opens with a shadowy grumble, all bottom-end clawing from beneath the surface, before a switch flicks on and overhanging lights of synthesizer suddenly crackle to life. Not a moment later, Mark Lanegan throws his voice into the mix with the force of a wrecking ball, smashing all the instrumentation into fragments that orbit for the remainder of the song around his densely-centered vocals. As a former member of Screaming Trees and Queens Of The Stone Age, Lanegan is no stranger to wringing beauty out of gloom, yet “Nocturne” doesn’t so much prove gorgeous in spite of its components as it gives them the proper lighting to reveal their inherent sparkle. Much like his last solo album, 2014’s Phantom Radio, it’s a seamless merge of the more synthetic elements that have creeped into Lanegan’s solo work over the years with his base in dingy alt-rock. bit.ly

Frontman Elias Bender Rønnenfelt reveals his lyric-writing process: "I always do put a set period of time where I go in and write the lyrics from. I start writing the lyrics when I know when I go into the studio, and then I set 10 days, 14 days off to do that. I have notebooks and material that I draw from, but I do work on all the songs simultaneously, just to try to weave some sort of -- not a narrative, but just to make sure that it is all written out of the same state of mind, and so it doesn't become too eclectic from where things come from. "I like that limit, that the race against time where things are just allowed to be what they do then become. If I gave myself a year to write the lyrics for one album, I think that would prompt me into some kind of psych ward, you know? I think with any creative endeavor, opportunities and choices are at least endless and it's hard to tell when something's finished, so if you do create these sort of deadlines and a bit of stress around yourself, you're guided by that and, usually, it seems to pay off. But to allow myself to just sit and ponder and just wait until something's finished when it's finished, that would absolutely make me get lost in the worst possible way." bit.ly

"Narrator" features guest vocalist Martha Skye Murphy, and was inspired by the 2019 film A Long Day's Journey Into Night. Squid said in a press release, "The song follows a man who is losing the distinction between memory, dream and reality and how you can often mold your memories of people to fit a narrative that benefits your ego. Martha Skye-Murphy made the point that the unreliable narrator is, more often than not, a male who wishes to portray women as submissive characters in their story. After some discussions with Martha she thought it’d be a good idea that she play the part of the woman wanting to break free from the dominating story the male has set." bit.ly

first single. #1 OTD 1983 This song is about a lover's crippling pessimism and how it blights an otherwise ideal relationship. The Smiths' frontman, Morrissey, explained to Star Hits magazine: "I just wanted to use the theme of complete loneliness. It was important to me that there'd be something searingly poetic in it, in a lyrical sense, and yet jubilant at the same time." Guitarist, Johnny Marr, told the biographer, Simon Goddard, that he assumed Morrissey wrote this song about their friendship, "purely because we were the only people hanging out with each other at the time." Morrissey told Star Hits magazine that the couplet, "Though we may be hidden by rags, we have something they'll never have," is his favorite Smiths lyric: "It's how I felt when I couldn't afford clothes and used to dress in rags but I didn't really feel mentally impoverished." bit.ly

Celebrating the anniversary of this debut album from supergroup Electronic, which came out in 1991. Electronic were formed by Manchester friends New Order singer/guitarist Bernard Sumner and ex-Smiths guitarist Johnny Marr, who co-wrote the majority of their output between 1989 and 1998, collaborating with Neil Tennant and Chris Lowe of Pet Shop Boys on three tracks in their early years, and former Kraftwerk member Karl Bartos on nine songs in 1995. The two first met in 1984 when the Smiths guitarist contributed to a Quando Quango track that Sumner was producing. Later in 1988, Sumner was frustrated because his New Order bandmates were not receptive to his desire to add synth programming to their music. He decided to produce a solo album but found that he did not enjoy working alone, so he called Marr for help. Inspired by contemporary dance music like Italo house and acts such as Technotronic, their initial concept was to release white label records on Factory and remain an anonymous entity, in contrast to their considerable reputations with The Smiths and New Order. bit.ly

Travis Shinn and Jeremy Danger directed the “Psalm 23” video, and it’s just a static shot of the band, perfectly lit, playing in a dark room. They barely move, but they brood hard. According to a press release, the band are playing in the studio, surrounded by 23 candles that Mark Lanegan gave them. Lanegan and Cold Cave teamed up for a Joy Division cover last year. Watch the video here: bit.ly

Formed in 2016, Mad Foxes is a garage, grunge & post-punk trio based in Nantes (France). Jimmy Fallon hosted the band on "The Tonight Show Starring Jimmy Fallon" after hearing them played on KEXP one morning; read about it here: bit.ly

When asked about writing the song by historian Douglas Brinkley for an interview in The New York Times, Dylan noted that he "didn’t really have to grapple much. It’s the kind of thing where you pile up stream-of-consciousness verses and then leave it alone and come pull things out. In that particular song, the last few verses came first. So that’s where the song was going all along. Obviously, the catalyst for the song is the title line. It’s one of those where you write it on instinct. Kind of in a trance state. Most of my recent songs are like that. The lyrics are the real thing, tangible, they’re not metaphors." Brinkley also asked Dylan about the surprising inclusion of Anne Frank's name in the song, to which Dylan responded that Frank's story was "profound" before adding: "You could just as well ask, 'What made you decide to include Indiana Jones or the Rolling Stones'. The names themselves are not solitary. It’s the combination of them that adds up to something more than their singular parts. To go too much into detail is irrelevant. The song is like a painting, you can’t see it all at once if you’re standing too close. The individual pieces are just part of a whole...Somewhere in the universe those three names must have paid a price for what they represent and they’re locked together. And I can hardly explain that. Why or where or how, but those are the facts." bit.ly