The water hits my face and then I’ve convinced my reflection. I’d disown them in a second for your touch. Pock-marks dot the blister field, find solace in fictitious real – the realest thing since genuinity.ĭon’t be offended by my songs, I didn’t mean a single word. I hate myself and want to live, I want to love, I want to give, I want to take and be taken care of. You say you’re crying more than me, as evidence – capacity to feel a higher low, but I’m not sure. The milk careers, and flows, and tastes so smooth. My ego is the Best Boy in the room – woo hoo. My fingers make a square to frame a cinematic, sincere pain. The Liffey’s swallowed all my pride today.Īnd Spielberg’s in the kitchen stink eyeing my side on the brink. Still making room for your hair and head to rest upon my chest, I guess. My fingernails are a frayed knot, my self esteem has caught the cot death. Make out with the mirror, practice chat up lines and figure out which thin veneer to debut as sincere moi. “Rock and roll is here to stay”, my mantra on bank-holidays. One trick phoney to the three act addicts, foreplay takes five minutes, sex is next I guess? Simmer down the wet confetti, the geneticists still aren’t ready to come home so I’m alone for now. Smith and Nick Cave, with the latter especially influencing the bridge between lyrical sentiment and true performance”. I took inspiration from songwriters like Courtney Barnett and James Murphy, to Mark E. It ended up being a very cathartic experience and tapped into a creative space we had never gone before. I spent the best part of 3 months recording several different demos until I plucked up the courage to bring it to the band. It’s a terrifying thing to hone your craft only to tear the rule book up, but the results were very rewarding. “In writing the song I wanted to see if I could free myself of the song writing crutches I would normally reach for – like structure and melody – and replace them with a more considered approach to lyric writing and performance.
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