Parallax Reisen, citrinitas

PinkPantheress - Used To Stay

the yearning

it’s possible

IT'S OKAY TO JUST ADMIT I'M YOUR NUMBER ONE, YEAH!

Von dutch remix by Charli XCX & Addison x Tonight by Pinkpantheress

Von dutch x Tonight (Eulonzo Mix)

attention

hi!!! this is a snippet i'm really happy with right now. it's about my time dating a control freak, and even though they made me depressed, robbed me of identity and left lasting wounds, i still want to heal, have fun and do everything i couldn't before to spite them!!! maybe the chainsaw and the gun is a little dramatic.... hehe. was listening to lots of jpop and eurobeat and that is what inspired the sound! i tried to make a song where it was super 'dance'able lyrics but... this is what i ended up with X)

lyrics:
I’m gonna dress the way you hated before
When you’d throw my clothes all over the floor
It helped me forget that I’m not me anymore
I was paper that you ripped and tore

When you insult me my heart sinks to my chest
I feel sorry cuz i did my best
But what did you do? Nothing important
Behind the corner I’ve got a chainsaw

I’m depressed but i wanna have fun
I wanna see you put your face in my gun
This time I won’t be feeling sorry again
No never again

Now I’m so important i’m a vip
You can expect that from someone like me (get down)
And if I see you I might call the police

Chainsaw (snippet)

this is so dramatic byeeee tapped into my musical theatre side for this

lyrics:
You’re not the type to run away right
You’re not the type to make me question
Why?
Right?

You’re not the type to make me suffer
You’re not the type to make me wonder and wonder and wonder and wonder
Right?

You’re not the type to go all silent
You’re not the type to make me fear
That you’ll never return
Your presence left unknown 
Are you even alive, I don’t know

I put my life on line
I didn’t trust my mind
I said not this time
I thought that you’re a different type 
Maybe I was too nice
Nothing comes without a price
He’s not a coward, a weak pathetic loser
Morally lacking, I’d wish that I’d known sooner
Right…?

I’m afraid to get hurt again
Like I do to them
I run from all my friends
So that I don’t face the end
But with you, I play pretend
Maybe I’m the one who’s running away
But you really don’t make it easy to stay

i’m not the type to run away right
i’m not the type to make you question
why?
i’m not the type to make you suffer
i’m not the type to make you wonder and wonder and wonder and wonder

I can’t be like what I fear the most
But it makes sense
Cus I know the way you work
i know the way you work

the type to run away

dizzy - AMINAT

lyrics:
your soul is a garden
let me be the light
at least for tonight 

I feel unrest
Should I confess
my heart beats, but there’s no urgency
not yet
not yet

I look in your eyes
I wish I’d fed you more lies
I’m too real, and so you're scared to feel
Likewise

i look further up and up
your face reaches the ceiling
my voice softens
your gaze hardens
as you say goodnight

Time is moving on and on
It takes what we are feeling
So we stand there
Hoping somewhere
Will contain tonight

your soul is a garden
let me be the light
at least for tonight

I feel unsure
Are you just bored
So am I, come on idealise
I’m yours

I’m stuck wanting more and more
It’s getting so appealing
But we’re frozen
There’s no motion
Under this moonlight

your soul is a garden
let me be the light
at least for tonight

tonight

CLEMENS GADENSTÄTTER
building bodies

The ensemble is built around the voice and the electric guitar which work as the central-system of the piece. The guitar is connected to the voice via a “talk-box”, a tool that shapes the spectra of the guitar according to the mouth position of the player. In this way guitar works as a prolongation of the voice.  
This duo is extended by a keyboard (as an extension of the voice via sounds out of the vocal field), piano and percussion, that function more as prolongations of strings and vocal cords then as percussive sound sources.
Three brass-instruments are continuing this process of prolongation of the voice, as three lower string-instruments are continuing this prolongation in their way. 
All instruments also hit their idiomatic use. In this way the ensemble resembles a body with different parts, all interconnected and specific in their presence and function. 

In terms of form and structure “building bodies” works on grounding body experiences we all share. The piece takes its departure from a body-image that is one that can be shared by a large variety of humans – I do not dare to call these experiences as valid for all of us humans, since me myself I am imprisoned in a cultural and social based body image. By studies and research, it seemed to be possible to find more or less universal starting points for this project. 
The transformation of these grounding sound-materials and structures is done be re-relating them under the angle of various layers of their presence: from the sounding resemblance to the specific way of reference to the body (tactile, movement, spatiality etc.), from the layer of cultural use and semantic intent to the logics of idiomatic instrumental treatment as a structuring tool – just to name a few of the layers on which and by which the re-relating transformation takes place. 

The idea of “building bodies” is to create the possibility of a different body-image, of a different sensation of our body. These deviant body sensations are triggered by the music as described above (music triggering the body and thus shaping the body). 
Building a deviant body also means building an alternative experience of the world, our society, culture. Living an altered angle to the world – as the utopian aspect of this project – is the fundamental necessity of an altered behavior towards this world.   
This is my idea of “politics in the perception” which I take as one of the strong necessities of art in our (and maybe any) society. 

The texts that are interwoven into the piece are all taken from Pop- and Rock-Songs of the last 3 decades – all connected to the theme of the body. These texts are on one hand a representation of the cultural body-construction, on the other hand some of the tiny fragments provide metaphors of a certain complexity that is enrichened even by the juxtaposition of the fragments and certainly in the context of the music. 


Parallax Reisen, citrinitas

Alexander Mouzouri