lirik lagu friends without faces – free
(0:00~1:34)
[intro]
i’m free from me, don’t worry about the things you’ll never see
i’m free, don’t flee or dream all about the scenes you’ll never leave
[verse 1]
i used to think that some things mattered
then my worldview slowly shattered
after all is done am i the only one who thinks she’s free?
i mean, and with neither gods nor kings who could disagree
i’m free to be, don’t f~ck with my head or leave cerebral debris
burdens of which i’m the bearer, some reigns of terror rain in error
over barren fields once full of verdant flowers, sun, and trees
(1:35~2:01)
[spoken advertis~m~nt]
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(2:18~2:42)
[radio jingle]
friends without faces radio
[spoken: friends without faces, r u s s e l b u c k]
another absolutely mental face blaster and bass buster my friends without faces can’t get enough of it, and i reckon you can’t either
up next is the rest of the song by friends without faces, you’re listening to good times, good country, friends without faces radio
h~llo this is russelbuck, and you’re listening to friends without faces radio
(2:43~5:12)
[cellphone tune w/ spoken commentary: friends without faces]
hi there, this is a bit of a different thing here, we’re doing uh, cellphone tune by r u s s e l b u c k actually, so we’re in 4/4 time, [?] a tempo about 160 bpm i’d say we have a flute synth, uh, stating the a melody here, uh, kind of an ada form song, but we’re just stating the a melody cause the repeated [?] that’s dum bum bum that’s 911 on a cellphone, uh, but i’ll get back to that, we’re putting the b melody actually in here polyphonically harmonizing this we’re kinda just doing a 1 to 5 thing right now, and for development, we’re gonna have a 1 minor three minor six progression, right there, and then it’s gonna go to a minor two to minor three, there’s a rhythmic emphasis on four, the melody rest there, um, so there’s just you know the arrangement can do whatever it wants, uh, i’d say this is digital fusion genre~wise, or, early digital fusion this was before the genre we even knew, um, but it has, you know it hits all the notes for me, um, otherwise it’d be like kawaii future bass or something, um, you know the development’s continuing here but we~ we’re about to reharmonize it so it’s one minor three minor six, minor four minor three minor six, uh, major four flat six of five, five four five one, classic way to end the cadence there, but uh, that flat six of five moving to five’s a tritone [?] it a bit we’ve removed the dominant moving to the target chord, um, but you know here we’re just developing the b melody some more and we both have the a melody underneath it polyphonically just like, uh, harmonizing it some more, um, yeah so there it’s in~ it’s in the bass right now, it’s kind of an inversion of what was happening in the exposition we’re about to have a caesura coming up with a pickup of a cowbell, um, are you here?
very nice. um, so, we’re back to the original progression, uh, and the thing i’ve been wanting to say~ if i’m very serious russelbuck, and some friends, we all have our local friend group, (spaghetti!), russelbuck’s mid~2000s late [?] stuff, nice quintuplets there, but yeah they were in our friend’s living room and one of our mutual friends like, whipped out their phone and started dialing 911 as part of a bit i guess, um, that was a long time ago when i had that story but there’s the russelbuck with me, russelbuck wants to use that, it’s like a very totaka’s tune, there’s the laugh i used, um, in my chemicals remix, but yeah they use that a lot, they use the rhythm heaven~ they use rhythm heaven samples a lot, they u~ they use that foley rise you kinda just heard, um, they use that a lot, uh, we’ve moved up to a~ uh, a major right here, um, just you know moving up to the five, it’s still a development progression, but um, you know, here we~ here we have another caesura and on solo guitar, minor two, uh, major five, major one six add nine, it’s open it’s jazzy, but it’s not a seven it’s not as discordant, so it’s a nice, mostly resolved way to end this song and on that note~
(5:13~8:55)
[verse 2]
time again, much to my chagrin
we have reached the end, though i still have some runtime
have i said or else embedded
all that’s in my head that can create some grand design
is that it? must i now admit?
i’m a hypocrite but with principled motives
sometimes i, despite how i try
just can’t amplify all the stories and things i should say
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[chorus]
at times like this i wonder if i
had anything crucial to say at all
hey, is this just a blunder
and it’s futile to earn some one hundredth’s cent windfall
[distorted bridge]
[outro]
now i’ve had lots of fun interred with you
in our brief encounter, and so we part
how can i let this boulder tumble downwards
and only for chances of fresh starts, then i’m
free (ok we’re done here)
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