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- M O R A I N E -


Last updated 20 May 2005 (Frequently Asked Questions)

Who are you? Moraine

I know, but really? We're not in the phone book, so do not try.

Why Moraine? 'Tis pretty. Plus, Romaine was taken, and I dare not even mention Rogaine. Oops.

Are you a smart-ass? Nah...but you sound like a post-punk era British music journalist.

How many people are in Moraine? The number varies, but typically it is Moraine, Moraine, and also Moraine.

Does Moraine tour/perform concerts? We at Moraine do not believe in touring (it wastes money), and our music would not sound great in a live setting. We might do a one-off show sometime, but we would only alienate audiences. We despise the backing tapes idea of gigging, too. We know those appear as disasters.

I heard that (one of) you appear somewhere on Mira's website. Is that true? Yes, we do. Now spot him in the photos.

Where is Moraine based? A void known as North Florida. Or, rather, a vortex known as Tallahassee. Hence the reference to a picture on Mira's website.

What brand of music do you play? Brand? Brand? Ugh...makes us think of soddin' cows... Never consider yourself under any genre of music...branch out, carve your own niche, discover your identity, find your forte. Just listen to the mp3s below for yourself, but please do not tell us where you think Moraine should be pigeon-holed.

What's in your record collection? Thank you! A competent question deserves a competent answer (if I can muster that up). Aspiring music journalists, take note...never ask an artist's influences or inspirations. Anyhow, our music collection's not terribly diverse (since we tend to collect post-punk era reissues and have little from before than 1975, although there are certainly items on our want lists dating earlier than that), but encompasses everything from Throwing Muses to Portishead to International Harvester to Xiu Xiu to The Birthday Party to King Pleasure to Freestylers to Scritti Politti to Roy Montgomery to 23 Skidoo to Disco Inferno. Hard to believe we mentioned them in the same sentence, but in the end the names mean nothing since these do not amount to influences except in the fact the music of others inspired us to create.

What roles do you have in Moraine and what instruments do you play? Voices, recorder, noises, screams, lyrical content, piano, tapes, samples, feedback, and programming when we cannot make certain sounds ourselves. The earlier songs were recorded only with Windows Sound Recorder. Occasional manipulations of sounds occur through WinDAT, Audacity (now what Moraine typically uses), and AudioSurgeon, and we do apply a drum machine programme on seldom occasions. The percussion typically consists of a large piece of styrofoam, an Electrasol canister, sherbet containers, an empty tub of ice cream, and thwacks at random objects from oven trays to Ottomans, with chopsticks and broken plastic clotheshangers as drumstick supplements. Only one (cheap) microphone is used, and it came with the computer.

Who do you think your music sounds similar to so far? Honestly, our methods are similar to artists like Roy Montgomery, 23 Skidoo, and Cabaret Voltaire (pre-1982), but the more music we create, the less we sound like anyone else, we think. "She Belongs to the Economy" sounds at most vaguely like Simple Minds' "I Travel", "Rainy Choctaw Beach" could draw comparisons to Roy Montgomery's longer pieces, "Perennial" sounds like a funeral hymn, and our oddest pieces we cannot compare to anything we have heard. It definitely varies.

Have you been involved with any other artists/bands? Sadly, no...we have tried starting several bands but have never gotten them off the launch pad of ideas (because we are rather difficult and everyone suckles the same corporate nipple; it does not lactate, damnit! When will the junkies ever learn?).

When did Moraine start and why? Moraine commenced spontaneously in June 2003 from the ennui that comes with life as a minor in north Florida and from a cesspool of utter disgust resulting from the fact that Moraine dislikes everything except a few artists in current music. Plus, Moraine wishes to debunk an understandable theory that cosmopolitan Americans under age 21 listen only to emo.


Any further questions or comments can be sent to the e-mail link at the bottom of the page.


- MP3s -


Pop Mantra (Recorded 19 June 2003)
When the pain endured in life
Equals the pain in dying
Throw yourself under a train...
An instance in an extreme
Evanescing into numbness
How much more could I explain?

For Emily Carr (Recorded 24 August 2003)

The piano was recorded in mid-December 2001 on a cassette recorder at a family friend's house.

Rainbow Sherbet (Recorded 29 August 2003)
This commences with some freakouts and a sample from The Young Ones intermixed, plus a bit of Hoovering and love kittens. Then comes the propulsive percussion, and some distorted recorder. I suppose in concept it sounds spare, but really it is quite filling.

205 Dial Turns (Recorded 6 October 2003)
Mostly percussive (although mostly distorted), with a feedback sample and me sounding really bizarre at the beginning, and then radio samples galore afterwards. The title comes from the fact that I pressed the tuning button 205 times cycling through the FM stations from 89.7 to 89.6 via 107.9 and 87.5 FM. I recorded it on cassette and then had the tape recorded onto this track.

Moderate Comfort (Recorded 29 October 2003)
The samples come from Spunky Onions' "Spunky Express" and "How I Lost My Virginity", if I remember right. The music is my "percussion" placed up extremely close to the microphone to give it that digitised effect.

She Belongs to the Economy (Recorded 3 November 2003)
The astounding new single from Moraine! No, not really, although it has my weird vocal, trying to sound like a cross between an uptight fashion designer and a jaded pop star until I decide "I'll do fuck-all" and act normally... And yes, Dumbya appears as a guest in the beginning. Probably the most accessible piece I have made, strangely. I'm actually very content with this one, probably because I made no stupid fuck-ups like saving the wrong file onto another one. Yayness! The title actually came from a word scrambler on Steve Burns' website...I thought it was quite awesome and then wrote a set of haikus to match it, which I used for the first two verses. Then I threw in some extra lyrical excerpts and a spoken-word piece.

Lipstick and hair care,
eyeliner with eyeshadow,
passion to glisten...
Blush and body wash,
powder residue sprinkles
over the counter...
She's the property,
a cynical victory
for economy...
The fashion victim,
the commercial casualty,
another murder...

A middle-class girl
rampages every thrift store
with her parents' money...
Commerce flows swiftly,
but for those with dollar shirts,
that proves a trifle...
With minimum wage
scarcely clothing their children,
would this not appall?
Glancing in disdain,
each sighs and then rummages
through arid flannel...

She belongs to the economy!
She belongs to the economy!
She belongs to the economy!
She belongs to the economy!
No, no, no, no, no, no, no no no!

(Social opiates... Social opiates...)

Everyone participates in the capitalist essence of the American economy. Unfortunately, ways of avoiding it have proved unsuccessful, unless one farms for self-subsistence, but even that depletes monetary funds. I admit that I purchase compact discs from major labels, partake of corporate nourishment, use forms of hygiene, buy brand names on sale if I cannot find independent manufacturers, and so on, but the truth is that there's no other way around it. I apologise in advance, but suffice to say, the story is that, well...
We belong to the economy! We belong to the economy!
We belong to the economy! We belong to the economy!
We belong to the economy! We belong to the economy!
We belong to the economy! We belong to the economy!

Ermine Ermine (Recorded 6 November 2003)
This, strangely, of everything in this world, was originally intended to be a cover of Joy Division/New Order's "In a Lonely Place". I had the drum pattern in place and I tried to distort my voice to sound like a bass I ended up creating some of the sounds heard in this composition. I sped up the drum pattern and meshed it with the original drumbeat, and somehow I ended up skewering it and making it completely different. The samples were dispersed (including the one that sounds like a trumpet from a Cabaret Voltaire song but is not) and then, remembering inspirations and epiphanies from earlier that day, started screaming about dead whales, burnt waffles, tried to imitate Elvis and Nick Cave (in a histrionic The Birthday Party fashion) just to be silly, and whatnot. As a result, I emerged with a piece of genius that completely was unintentional and half-arsed. I actually hated it for twenty-four hours after I made it. Even my little brother likes this one and he typically hates what I do. That should tell you something, not that he's the best tastemaker.

Trainyard (Recorded 26 November 2003)
A stuttering drum pattern sped up and down and meshed together for the beat, and lots of screeching feedback echoed and reverbed...and occasional "cymbals"...it turned out quite interesting. Oh yes, I also sampled the now-abandoned piece of mine called "Requirement".

Teslin in Reverse (Recorded 30 December 2003)
This comes from an abandoned piece of mine called "Frozen Lakes near Teslin" that I sped up and reversed. Credits to Lucy for the idea after a discussion about what Moraine composition would sound interesting at a different speed following a discussion of what records would sound better or intriguing at a different speed and/or backwards. I suppose that runs the groove of everything from New Kids on the Block (Bill Hicks surely has to be on the money for that one) to Pink Floyd and Crosby Stills Nash & Young, to Jason Parkes' discovery (which initally commenced the conversation) of how "In-A-Gadda-Da-Vida" sounds like a rave with bloated/druggy Vegas-Elvis resurrected from the dead and 50 Jaki Liebezeit's (from Can) bursting from behind a brick wall.

Trainyard Dub (Recorded 4 January 2004)
Despite the title, none of this came from "Trainyard". The percussion pattern was completely random and ended up sounding the same as the original composition's loop by accident, and was subsequently kept. The first attempt at working on this, it incorporated elements from "Teslin in Reverse" and a drum machine pattern, and the first few minutes gelled, but any way of trying to conclude the composition faltered because it seemed too avant-garde and pretentious for various reasons, mainly the randomly shifting time measures. The working title for this was "Bronxville Station", interestingly. I deleted it eight hours in, reworked it to just the drum pattern, two bass loops repeating over and over (my voice actually, slowed down), and bubbling/gurgling noises that actually came from the same drum machine loop at two different speeds, sped up to hell and then slowed down somewhat. The final addition was last minute subway samples lifted for free from the first site I came across, and I layered multiple trains stopping at the end and distorted the beginning sample while keeping the original intact and pasting over it.

Bay Line Trestle (Recorded 18 February 2004)
This piece, made also on KBPiano like all my latest compositions, comprises of guitar harmonics, electric jazz guitar, guitar fret noises, Rhodes piano, and some sort of synth mode that I cannot remember the name of...plus feedback created from my sucking my teeth into a microphone turned up loud on megaboost, and everything I said copied over onto another file and distorted by wah-wahing and phasering it to hell as I often do. It exemplifies everything I do and have done. The title comes from that this piece reminds me of a trestle on Bayou George that can be seen on US Highway 231 heading towards or away from Panama City about fifteen miles from its intersection with 23rd Street. Bay Line Company trains, named after Bay County, where Panama City lies in, used to and occasionally still do travel the line that parallels 231, but in many spots, particularly across from Panama City Mall trains have simply sat there rusting in the elements for as long as I can remember.

Barrier Island Causeway (Recorded 18 February 2004)
This composition consists solely of a soundtrack mode on KBPiano and seashore sounds. Sometime later when tropmet.com is functional again I plan to add sounds from movie files of Hurricane Kate in 1985 rumbling through Apalachicola and Cape San Blas...it's really affecting, the wind in the trees and the weird radio broadcasts...but this piece is nice as it is right now. The title refers to the now-closed St. George Island Causeway, now replaced by a single span curved 4.1 mile bridge. The original consists of two spans over the St. George Island Sound, one of them over the Gulf Intracoastal Waterway, and a small rocky island in between hosting a bird sanctuary, but this piece reminds me of driving over it before a thunderstorm at sunset.

Rainy Choctaw Beach (Recorded 14 March 2004)
Inspired by a day about four, five, six, maybe seven years ago, when I stayed with my maternal grandparents in Panama City and we drove out to Eglin Air Force Base to pick up a certain prescription for my grandfather unavailable in Panama City. On the return from the base it started raining along State Route 20 near the titular hamlet and I remember glancing towards the Choctawhatchee Bay and became intrigued upon how suddenly gloomy it appeared from when I passed it earlier that day. The music reminded me of this. This piece is thirteen minutes long and consists of samples from abandoned compositions like "Theme from New Ardennes", "Pulaski Pike", "Tealine", and "70th Parallel Mining" as well as a piece I composed on KBPiano ("Three Minutes' Silence", actually) that I recorded and slowed down to four times its original speed, causing the gently droning music that proves the central figure this composition. I might later revamp this with a few extra effects that will make it prettier and more interesting in substance. I just hope it keeps your interest...it does with me. This took out fifteen painstaking hours from my life, after all.

Lonelier Grows the Heartache (Recorded 10 May 2004)
The percussion's layered and mixed slightly unevenly together for this sort of synthesized effect, and the music entirely comes mostly from my distorted voice and a distorted/heavily delayed recorder, the latter instrument slowed down at most points. The title comes from a something I wrote a couple of months before about a weird experience I had...possibly near-death/out-of-body/pregnancy hallucination/heart palpitation/sleep apnea or a combination of sorts.

December on Shell Point (Recorded 11 May 2004)
This is quite possibly the bleakest song I have recorded musically as it offers no release but uncertainty. The music consists solely of heavily echoed layers of slowed-down recorder and just as many layers of heavily echoed and slowed-down chimes. The title spurs from what it reminds me of...a day when I revisited an innocence lost, quite probably one of the bleakest moments of my life...my mood and the surroundings on that stark and cold late-afternoon staring out onto a seemingly lifeless and grey beach have practically become encapsulated here.

Process Station K (Recorded 25 May 2004)
This only comprises of samples from a few sound clips found here and no original music. The part that actually sounds like music is a slowed-down and heavily echoed sample of some lady doing this horrible trilling of her voice to some piano tune.

Death of the Rubik's Cube (Recorded 25 May 2004)
This starts out with a slough of intermingled samples from here again, some backwards, some forwards, that end up barking before it disappears behind some random vocal noise. Yes, there is beeping from a phone in the midst of it, too. After the echoed clacking of a recorder on a plastic chair, this digitised music commences. It came from a sample of me trilling my voice, which I sped waaay up before slowing it to normal speed, causing it to sound very digitised. The percussion is layered, varied, and very intricate...the beats constantly morph from sounding like old-school hip-hop rhythms to early and late-Eighties drum machines and to and fro and back again. The percussion makes me really happy. A sixty-four second loop of digitised effects is repeated a few times that also comprises of the same aforementioned vocal sample, only sped up. I tried adding more elements to the piece but I felt content with it as it was. The title comes from a list of song names that I have always wanted to use.

Panacea (Recorded 1 June 2004)
A gloomier variant on the now-abandoned tropical edit. I actually intended for the song to sound like this, although the music for this version was created spontaneously and I re-recorded my vocals for it. It's a bit rough and muddled in arrangement but it's pretty much how I hear it.

The overcast morning starts with a torrential cadence,
A mantra and a refrain that persists throughout the day...
With icily wounding chills, I rouse awake in shudders,
Curling towards you, crying; "I wish it would end," I say...

These years prove me senescent, and these tears grow me older,
With every sordid hour, time amounts my frailty...
I protest, "I’m scarcely young, yet a perennial youth!"
Even my visage falters, at times appearing ghastly...

Onward, your hands clasping mine, we proceed to the courtyard,
Your presence furthers the gap from youth and my crippled stage...
Each movement shatters a bone; I wince upon the splinters,
The only panacea’s the death prescribed once I age...

Protection’s not worth searching and dying’s pure catharsis,
An exquisite ailment with most vivid, cleansing art...
The adaptation to numbness and its subsequent pleasures,
Confirms the necessity of how someday we depart...
But when for where...?

Minaret Radio Dubtone (Recorded 2 June 2004)
This one was quite fun, simple, and easy to make, taking only four hours despite its nine-minute length. The song is comprised of five elongated treated tracks. The initial track comprised of a slough of DX radio recording samples from foreign countries, the first one from Tunisia, the middle ones of European origin, and the last three Southeast Asian, all samples from the Seventies and Eighties that I found online. In fact, in one of the samples you can hear a commercial for Radio Zagreb in Croatia. The next track consisted of just a few heavily treated bass notes repeated over and over again, the foundation for the composition. The next track was a blend of random guitar harmonics and a shower of guitar fret noises from KBPiano, slowed down. Another track consisted of a recording of me playing squalling "notes" on a record while rolling my tongue and standing next to an oscillating fan. The final track comprised of me randomly beating/striking/flanging on objects in my mother's bedroom with nail clippers and a highlighter. I blended them all together with care and in result created this composition. To describe its sound, I think listening to the Eraserhead soundtrack all day on the date prior to this piece's recording had an effect on my subconscious, as it sounds like a mix of that and something pre-The Crackdown Cabaret Voltaire would have made with pre-Urban Gamelan 23 Skidoo.

Sleep No More (Recorded 8 November 2004)
A cover of the title track from The Comsat Angels' Sleep No More that's scarcely recognizable aside from having a similar tempo and the same lyrics. The music blends a click track, a sample from the station WWVH (which has measured time for longer than KDKA in Pittsburgh has been in existence), and a distorted plucking effect with loads of reverb and meshes it with these chimes from KBPiano. I looped that over again and then added another track of reverse cymbals from the same programme before finally adding in the vocals today now that I have a microphone. It's not the greatest microphone because my voice ended up sounding rather lo-fi, hence the distortion galore on it via reverb, tremelo, and phaser effects.

Capital City (Recorded 17 November 2004)
I composed the lyric nearly two years ago and it really could apply to any city, but it seemed a product that was directly from these particular environs because it was composed here and had imagery of canopies and whatnot. The music was completely accidental...it was supposed to be the backing track to a more electronic-sounding ditty but I slowed it down and it sounded like a Studio One cut or something...I tinkered with it all day and it took me forever to nail the vocals, but I really enjoy it. There's not really any bass, which makes it even more interesting.

New Poverty for a New Proletariat (Recorded 18 January 2005)
I have been extremely desperate to create a composition and I finally managed one after making two sample percussion loops and merging them and slowing them down. I distorted a click track and a computer-created squall of white noise, made a bunch of squeaking noises on my brother's recorder and slowed them down while adding a slough of delay, and distorted a sample of me shrieking and repeated it to make it sound like a synthesizer squall motif. This composition really reminds me of Coil, 23 Skidoo, and The Missing Brazilians, I must say, but I am more than content with it and I feel somewhat relieved having recorded something. Now if only I could find someone to fall in love with me and then I'd be set. By the way, the name of this song is a corruption of the phrase "new poverties of a new proletariat" from the Situationists Internationale essay On the Poverty of Student Life.

Tablet (Recorded 2 March 2005)
This song's about the case of Mary Bell, who at ten-years-old was responsible for the murders of a few children in England. The lyrics solely consist of things she wrote and said and her testimonies and a prosecutor's question to her. The "bass line" is my voice distorted, the music comes from KBPiano, and the rhythm's another creation from Hammerhead Rhythm Station. Crikey, I'm a poet and I didn't...realise.

There's been an accident, keep your nose dry and don't tell anybody...

Look out, there are murders about...
Look out, there are murders about...
Look out, there are murders about...
Look out, there are murders about...

That house over there...
That's where I killed...
Killed him in the house...
Just lay down and died...
Pressed him and he dropped...

I am a murderer!
I am a murderer!
I am a murderer!
I am a murderer!

Is he there?
Oh, I know he's dead...
Can I look into his coffin?
Do you miss Martin?
Do you cry for him? Does June miss him?

I am a murderer!
I am a murderer!
I am a murderer!
I murder so that I may come back...

(Look out, there are murders about...)
Well, that was a very naughty thing to do, wasn't it,
(Look out, there are murders about...)
To think of killing little boys and girls and talk about it?

Look out, there are murders about...
Look out, there are murders about...
Look out, there are murders about...
Look out, there are murders about...

I am a murderer!
I am a murderer!
I am a murderer!
I am a murderer!
I am a murderer!
I am a murderer!
I am a murderer!
I murder so that I may come back...
I murder so that I may come back...
I murder so that I may come back...
I murder so that I may come back...
I murder so that I may come back...
I murder so that I may come back...

Nonstop Supersonic Flight (to New Jerusalem) (Recorded 11 April 2005)
This is an instrumental that's essentially a sound collage grounded by a 172 BPM dance beat. I tinkered around on KBPiano and created some samples which incorporated here (although I did distorted some of them or turn them backwards). I also took samples of a few neat sound effects from Homestar Runner and this other site with a Pembroke Welsh Corgi (as in the dog) drumming and I also integrated them into the contents of this song. I finally extracted samples of reports on the May 1968 riots in Paris and also applied these two tracks I downloaded from the WFMU blog (where one of the DJs posted a compilation they made in 1991 called The Happy Listener's Guide to Mind Control with tracks from different decades showcasing conservative paranoia in religious, corporate, social, and state-sanctioned senses)...one of them's Jack Van Impe and the other's an extract from a weird record called Flight F-I-N-A-L (and if you listen somewhat closely you can hear where I culled the title of this song from). It sounds like a Disco Inferno track to me and yet it doesn't really resemble anything they made either.

75/48 (Recorded 20 April 2005)
This instrumental has a foundation of a loop that consists of "drum sounds" I recorded off of this site where you can make this Pembroke Welsh Corgi "play drums." To me it sounds like something from a 1981 Rough Trade record. I added a few effects and an odd vocal loop where I make this unnatural squeaky-toy sound. I could not figure out what else to do with it and so I threw in this drone piece I recorded a few weeks ago and repeated it a few times over, and at the end it overlaps. The drone consists of my voice distorted and slowed down to make this rumbling bass sound as well as a recording of my hard drive (also heavily amplified and distorted). The aforementioned vocal distortion from the drone was sped up to the point where it sounds like the pluck of a guitar and is also featured provided that you listen closely enough. As for the title, it's one of many I have in reserve when I can't think of anything to name a composition. It just means "75 for the high temperature, 48 for the low." It was the forecast for my city on a day long since passed.

Automotive (79-80-81) (Recorded 12 May 2005)
This took a while to assemble, as I had three loops of music and two drum machine loops that I couldn't figure out what to do with and tried I arranging them to several sets of my lyrics (although I almost covered Kitchens of Distinction's "In a Cave") until realising that this set of lyrics I penned for my Nouveau Réalisme "concept" EP last November would work with it. The three loops of music heard in the song are bits and pieces of music I recorded from KBPiano that I sped up on Windows Sound Recorder and slowed down to the original speed before merging them together so I could receive a distorted and digitized effect. This song's pretty sparse in its arrangement and I might try to add something to it later on although I do think it's great as it is. I can't remember what I wrote this piece about it but I think it's some abstract commentary on America considering that I intended it for Nouveau Réalisme -- so interpret it as you will. It's the first piece I've made in a long while that has my vocals on it where I feel content with the result.

Another lapse of conscience:
ride initial train of thought;
know the routine's on schedule...
Quarantined from new prospects,
dead cables ground departure
upon conductor's whistle...

A second lapse in judgement:
board a separate train of thought;
check the routing and schedule...
Sequestered through convenience,
movement still stationary;
reboard across the gravel...

A collapse in reasoning:
hop another train of thought;
derailment at the station...
Complained to the engineer;
exclaimed, "That's not where we board!"
He replied, "It's your design..."

Annex (Recorded 15 August 2005)
Minny Pops meets Pylon and Glenn Branca. I chant a reverbed mantra about how things can be constructed or augmented when everything falls apart. The music is actually the same guitar pluck but slowed down and distorted and altered in pitch to be made as unclean and skronky as possible. It sounds like a detuned and damaged combination of a harp, guitar, and piano. A phasered click track and insistent beat run below it at 175 beats per minute. Recite the following seven times:

Collapse, replace, augment, structure,
Destroy, construct, broaden, annex,
Expand, submerge, condemn, contract.

To Topple the Americas (Recorded 7 September 2005)
The lyrics to this song were partially inspired by Chuck Klosterman's notion that Kid A can be heard as the soundtrack to 11 September (and as far-fetched as it sounds it does make sense and the album seems more ominous in that light) but they also relate to how I think the more order we try to establish in our lives and in society, we cause far more personal disorder as we disobey our more natural sensibilities. This piece of music's probably my favourite I've constructed. Synth bass runs throughout but it's augmented by a distorted version of the track that I processed through the hard limiter programme. The rest of the music (literally) is comprised of sounds from my drum machine programme, some running through unaltered, some of them distorted and varispeeded (not that it's a word), with parts filtered through the hard limiter, too.

I died when love dissolved
Humour followed suit, words surceased
This sequence proved indirect
It's not importance that caused all these

Our sense of order only showed discord
Each truth we knew was a deceit
We're left without a mere reaction
What can be said when towers fall?

Charnel House (Hessian Lullaby)
This song sounds like a Peel Session. The weird Arabian/Italian motif during each interlude is the bass line pitchshifted and heavily processed. There's not really much else aside from the drums -- it's very sparse. I wanted to add some experimental effects and I had just about finished with making them when the computer fucked up on me, so I decided to keep it pretty spare and chilly. The lyrical content was inspired by listening to Magazine's "Permafrost" while reading Woyzeck (hence the subtitle in the song) -- the former has the line "I will drug you and fuck you on the permafrost" and the latter has the titular character killing his wife, hence the threat of violence in the lyric to this song. The "severed lifeline" refers to the character in the song having his only motivation for living disconnect -- him turning "into a cold sphere" is significant in that his partner cheated on him or betrayed him in some way.

At the thought of you, I turned into a cold sphere
A severed lifeline damaged beyond all repair
If I refine my impact, I could assault you
I could assault you

I struggle inside to strike a little insight
I struggle inside to shoot you dead with my eyes
If I refine my impact, I could assault you
I could assault you


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