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Osset de Peluix

El Mundo en Nuestro Sitio

A Dónde Ir

Todo

Pause the Ending

Luggage on the Floor

This song is a surreal and violent descent into a toxic, co-dependent relationship, framed through gothic and grotesque imagery. The narrator begins with a position of perceived power—"the sun in the darkness"—but quickly reveals a dynamic of mutual destruction, choosing to sleep in a "garden of skulls," a metaphor for the fertile ground of past damages and death upon which this connection thrives. The lyrics paint a world of inherited trauma, referencing a father imprisoned by memory and a lover chasing an impossible affair, establishing a cycle of obsession and insanity that the narrator is now trapped within.

The middle verses descend into a hallucinatory series of clashes and bizarre intimacies. The narrator speaks of fighting "an army of demons" while lying in the lover's pool, suffering a beating from a nurse that turns erotic, and engaging in a mud-covered embrace that is both passionate and violently consumptive—being chewed up and spit out. Each encounter blends pain with perverse tenderness, and authority figures (guards, sentries, a nurse) are either absent or participants in the madness, suggesting this chaotic drama plays out in a space isolated from reality, perhaps a mental institution or a deeply shared psychosis.

The climax reaches its peak of absurdist horror with the lover literally nailing themselves to the ceiling in a grotesque parody of crucifixion, culminating in a spilled "medicinal store"—a failed attempt at control. The song then erupts slowly into madness, abandoning coherent language altogether for frantic, rhythmic nonsense syllables ("dai, de, dai..."). This final breakdown is the ultimate summary: language and narrative structure themselves dissolve, gently echoing away into the silence left after the emotional and psychological explosion. The song doesn't just describe madness; it performs it, leaving the listener in the eerie quiet of its aftermath.

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Malmö 040