unreachable

• in requiem'in 6. şarkısı.
  more than this
  a certain divide ask yourself why,
  more than this
  turn back in time wondering why
  
  then you'll see, tears won't wash this away
  memories of the years that started the pain
  
  all of this
  thoughts that unite long been denied
  all of this
  anger ignites a lasting goodbye
  
  then you'll see, tears won't wash this away
  memories of the years that started the pain
  
  can't you see tears won't wash out the rage?
  memories fallen years that started the hate
• bundan fazlası
  kesin bir ayrılık, sor bir kendine neden,
  bundan fazlası
  nedenleri düşünerek zamanda geriye dön...
  
  o zaman göreceksin, gözyaşları atıp götüremez bunu
  acıyı başlatan yılların hatırasını
  
  bütün bunlar...
  bizi birleştiren düşünceler çoktandır yoklar
  bütün bunlar...
  kızgınlık ateşliyor, uzun sürecek bir elvadayı
  
  o zaman göreceksin, gözyaşları atıp götüremez bunu
  acıyı başlatan yılların hatırasını
  
  göremiyor musun, gözyaşları alıp götürmez kızgınlığı
  unutulmuş anılar, nefreti başlatan
• ing. ulaşılamaz.
  
  (bkz: reachable)
• merakla beklediğim the empyrean'la ön sevişme, belki de yarı enstrümantal orgazm.
  
  are we down for the same cause
  we don’t know what we stand for
  when the moments start to crack
  you do lose track where you head’s at
  
  and i am unreachable
  what do you think when your head’s full
  we don’t rely on what we get
  we begin now where we aren’t yet
  
  one time
  hit me where i turn white
  i don’t mean to be polite
  uniform
  spinning the world to the beat of my drum
  uniform
  one time
  hit me where i turn white
  i don’t mean to be polite
  uniform
  spinning the world to the beat of my drum
  uniform
  
  reach into the darkness for what you can find
  travel great distance in your mind
  the world gets stronger when you start trying
  things turn around towards being born
  away from dying
  i’ve lost my kin
  there’s no one on my side
  were we to disappear
  well i’d know i tried
  you know i tried
  you know we tried
  end
  
  hey shoot me heey
  hey shoot me shoot me shoot me yeah
• ilk duyduğum günden şu güne o kadar çok dinledim ki. dinlemediğim anlarda da kafamın içinde çalıyor.
  aslında albümü tamamıyla dinledikten sonra uzun uzun, şarkı şarkı yorumlarım diye düşünüyordum, fakat kim öle kim kala, dayanamadım.
  
  en başından beri the empyrean'ın nedense john'un en iyi solo albüm çalışması olacağını hissediyorum ve unreachable'ı dinledikçe kendimi buna daha da inandırdım.
  öncelikle john'un önceki solo çalışmalarına göre gerçekten çok farklı bir şarkı. tabi bunda en büyük etken flea gibi bas mucizesinin ince işçiliği. flea şarkıyı bambaşka bir boyuta getirmiş.
  
  ayrıca john'un solo albümleriyle red hot chili peppers'daki stili genelde hiç benzerlik göstermezdi. stadium arcadium'u düşünürsek hele de vokallerden arındırılmış versiyonunu dinlediğinizde john'un bu albümün tamamına yakınında başı çektiğini görürsünüz. işte bu yeni şarkıda john'un stili red hot işlerine ve özellikle de stadium arcadium sounduna oldukça benzerlik gösteriyor.
  
  şarkı bir prodüksiyon harikası. efektleri, geçişleri, davul, piano, bas ve gitarın ayrı ayrı ve birlikte yürüyüşü muhteşem.
  sözleri oldukça iyi hatta bu konuda okuduğum ve hoşuma giden bir yazıda (ki onu da alta ekliyecem), sözlerin federico garcía lorca ruhuyla benzerliğine dikkat çekilmiş. sözlerin bitişiyle gelen enstrumantal kısım nefes kesici. hele bitime yakın sololarda zirveye ulaşıyor insan.
  
  bu şarkı sonrasında albüm için sabırsızlığım katlanılmaz hale geldi. hayırlısı bakalım.
  
  invisible-movement.net forumunda, dakini isimli kullanıcının yorumlarını ekleyip bitiriyorum.
  
  i will obviously have to hear the rest of this before i can really say, but it seems to me that whoever the living protagonist might be (very possibly john, but hard to say at this point), the disembodied character is very likely the spirit of federico garcía lorca. john's written from lorca's voice before -- try listening to mascara after reading ian gibson's watershed lorca biography that came out a couple of years earlier and you'll see that virtually every line goes back to some specific detail of lorca's relationship with salvador dalí.
  
  there's a lot of the feel of lorca in this song, as well. the person speaking is an outsider creative revolutionary ("spinning the world to the beat of my drum"). "hit me where i turn white" and "shoot me!" remind of the means of his assassination -- raped with a pistol and shot twice up the ass "for being a faggot" ("thank god my underwear's full of lead without you!") after being "disappeared" -- abducted by fascist soldiers and held/tortured in a secret prison prior to his execution.
  
  "turn towards being born away from dying" -- lorca had written several letters to friends about an epiphany he'd had that he "hadn't actually been born yet," because it seemed to him there were thousands of different federico garcía lorcas, different facets and aspects to his being, but no real, solid core of being, and no sense of direction. he would later find this sense of direction in using his poetry and plays as a means of influencing the culture towards social change, in a sense "born again" at a moment when he was close to suicide over his break-up with dalí.
  
  there's also a nice nod to patti smith's "i'm trampin', trampin', tryin' to make heaven my home!" in the line "the world gets stronger as you start tramping". this is significant because smith is another artist deeply influenced by lorca. at a concert she played at the poet's home in granada, spain earlier this year, she had said "there are two kinds of inheritance -- the inheritance of blood and that of art. i consider myself connected to lorca's artistic legacy." some other artists with very deep lorcan influences in their lyrics are cedric bixler zavala of the mars volta, leonard cohen, and michael stipe of r.e.m., among many others.
  
  anyway, the sense overall of the song to me is that the spirit of lorca is talking to the protagonist and encouraging him to turn towards a kind of creative rebirth instead of towards death, and if we fail to make a real difference, at least we know we tried.
  
  (dakini sonradan başka bir post'la ekleme yapıyor.)
  
  i thought i would write up a more thorough analysis than the brief scan i put here this morning, so here it is. refer back above for a more general overview as to why i think lorca's the one doing the talking.
  
  before i begin, i should say that i forgot to mention another songwriter deeply influenced by lorca -- tim buckley! in fact, he has a whole album named for him, and a song about him by the same name. song to the siren in fact (ki bu şarkı the empyrean'da tek cover şarkıdır), has a lot of imagery in common with several poems lorca wrote about salvador dalí, whom he almost always associates with nautical themes. the gist of that particular song seems to be that somebody led the protagonist promising they would love him back, only to break his heart by pushing him away at the last minute, afraid of the pain, and the protagonist is left wondering whether or not he should just lay down and die. (all of this is more or less the situation lorca found himself in with dalí, incidentally). so, i'm guessing at this point in the story of this album, something similar has happened to this protagonist, and this song represents what lorca's spirit says to him.
  
  are we down for the same cause?
  we don't know what we stand for
  
  here's the scenario -- following the romantic disaster indicated by the last song, the protagonist is reading one of lorca's pieces and the poet comes to him asking if they're "down for the same cause". in other words, the protagonist has recognized in lorca's piece a reflection of his own current situation, a certain kinship between the two of them, and that realization is how lorca's spirit begins talking to him, and explains the initial question with "we don't know what we stand for." which is to say, an artist can never know what his work will mean to anybody else. maybe you write a little ditty you think is kind of silly, but somebody else hears it and it's just what they need at that very moment and their whole life changes. or you pour your life's blood out into a painting that you think perfectly exemplifies your entire being at this moment in time, and somebody else comes along and thinks it looks like mickey mouse and decides you're a moron. it might seem like this guy and lorca are on the same wavelength right now, but it's really impossible to tell.
  
  the really important thing here, though, is that a connection has been made between them, and from there a dialog can take place.
  
  when the moments start to crack
  you do lose track where your head's at
  
  when you really tune your awareness into this very moment and shut off the nearly constant inner-talk we all have recirculating in our head most of our lives, your ego flies right out the window. what's interesting about this is that there have been several studies done in the last couple of years that indicate that certain forms of meditation, the sort that train a person to snap out of this kind of inner-chatter at will and to connect back with the present moment rather than obsessing over the past or worrying about the future, have been shown to be more effective in treating clinical depression than the latest anti-depression medications, particularly among addicts, people with ocd, or people with a history of childhood abuse.
  
  in the case of lorca, he fell into a deep depression following his split with dalí, and his family decided a change of scenery would do him good so sent him to study at columbia university in new york. the trip not only resulted in some of the greatest poetry of the twentieth century being written, but focusing outward on his new surroundings and all the things happening there did eventually snap lorca out of his depression and he was able to find a new sense of purpose in life and as an artist.
  
  and i am unreachable
  do you think when your head's full?
  
  the important word here is "i", ego. so many people waste immense energy and suffer so much pain trying to "find themselves," when in fact, there's nothing to find. try as you might, you will never, ever find the "real you", because there isn't one. just an endless series of masks and personas we do in response to varying conditions and which are entirely conditional to our biology, psychology, culture, etc., etc.
  
  when your head is full of thoughts, who exactly is doing the thinking? if you really examine your thoughts and their origins, you'll find you constantly pick up ideas from others, from your culture, from the media, from your religious faith, etc. ironically, the only "thoughts" we can call our own are the silent ones we have when we shut all that chatter down and experience the world through our own senses directly with as open a mind as we can manage, and that is the moment when our ego is nowhere to be found!
  
  we don't rely on what we get
  we're picking out what we aren't yet
  
  our past experiences and "what we get" from our era, our culture, the structure of our language, etc., really doesn't matter in the present moment. however, in each passing moment we are choosing our future on account of our thoughts, words, and deeds. we are all self-fulfilling prophecies, in a certain respect.
  
  one time
  hit me where i turn white
  
  as i said above, there's a little play on lorca's lily-white ass getting "hit," but there's a higher level to this. all time is one time because the present is the only time we have and it is everything and nothing all at once. in full awareness of this present moment, the ego disappears, "turns white".
  
  i don't mean to be polite
  uniform
  spinning the world to the beat of my drum
  uniform
  
  lorca began many a speaking engagement by explaining that he didn't mean to stroke egos and make friends with his work. he had come, instead, to tear apart the traditional spanish theatre and completely revolutionize it. and yet, owing to a lot of crappy politics and bowlderizing by his family following his death, lorca's most controversial and powerful pieces have either been conveniently "lost" or else only come to light after six decades of denial that they even exist or that he ever wrote such a thing. the "polite" lorca i started reading when i was a teenager is a very different critter from the headstrong cultural warrior i'm free to read today.
  
  "uniform". think of punk fashion. started out with some kids making a very individualistic statement, and turned into a commodified "uniform", a pre-packaged identity people sheep can buy in the supermarket. but the first person to don the uniform is the really brave one, going against convention. in this case, the line seems to refer to lorca trading in his dandy 1920s suits in favor of the denim worker's cover-alls that would become the uniform of his la barraca traveling theatre company. this was a huge step to take in that point in time, for an upper-middle class genteel poet and playwright to dress up like he'd more likely be rebuilding engines than staging cervantes. but it signaled his break with the bourgeoisie, and his commitment to using his art to empower the disenfranchised.
  
  "spinning the world" -- on the one hand, this is literally a revolution based on the whim of someone "marching to his own drummer," a revolution led by an individual outcaste. but, on a higher level, we all "spin" the world in our own way as artists, because we filter our ideas and our creative output through our own unique perspectives on the world.
  
  reach into the darkness for what you can find
  
  the darkness of depression has been a creative well for many, many people over the aeons. grab what you can while you're there and start working with it to create something new.
  
  travel great distance if you're mine
  the world gets stronger as you start tramping
  
  the other day i heard allen ginsberg reading his "death to van gogh's ear", which has the line, "and franco has murdered lorca, the fairy son of whitman," and for the first time i had a sense of this artistic legacy, this lineage of inspiration, as a real family. lorca long lamented the fact that he would never have children, and yet, he is a spiritual father to so many. so, "if you're mine", in the sense of if you're kin to lorca, what you need to do is get outside yourself and start traveling, as he did, start looking with new eyes at the world around you. and as i mentioned earlier, he here gives a nod to one of his other "children," patti smith, who sang about making this world into heaven by "trampin'," which seems to be what's being suggested here. rather than bitch about the state of the world, get up and figure out what you can do to help change it.
  
  turn around towards being born away from dying
  
  that line there is the gist of the whole song -- the choice on the table is between death and new life. but of course, new life always requires death, even if on a symbolic/spiritual level of initiation.
  
  i've run out of ?, no one at my side
  are we to disappear? well, i know i tried
  you know we tried, you know we tried
  
  i can't make out the word i've marked with a ?, so i'm not going to guess at it, but certainly, lorca was unlucky in love. his three adult relationships that we know about were all disasters, but they did make for some great art and inspired him towards valuing the independent spirit, so it's all good.
  
  there's a double sense to "are we to disappear?" on the one hand, as artists, we seek a kind of immortality through our work in the way other people seek immortality through their children. and maybe all the best laid plans we have for what we want to accomplish with our work come to naught. but, at least facing the end, we do know we made a whole-hearted, honest effort.
  
  on the other hand, there's the kinds of ironies we all see in our lives -- we try to disappear into the woodwork, and sooner or later, we do!
  
  hey, shoot me!
  yeah, shoot me! shoot me! shoot me!
  yeah, yeah, hey hey hey, yeah
  aaah
  
  so, go ahead, do me in! "i" don't matter. the work will stand or fall without my ego here to prop it up. and also, here we see a hint of the old proverb, "if you meet the buddha on the path, kill him," which is to say that sooner or later, we need to surpass our teachers and move out on our own, or else we wind up being left behind as pale imitations with no heart and soul of our own to show for it.
• birçok john frusciante şarkısı gibi, içinde yine onlarca melodinin olduğu ve buna rağmen saçma sapan virtüözlük numaralarının yapılmaya çalışılmadığı muhteşem şarkı...
• shoot me kısmında kelimelerin kifayetsiz kaldığı şarkı.
• 2009 yılında yayınlanan ilk sanat eseri, tabi ki bay frusciante'nin ellerinden...
• eskimiyor bu şarkı. ne kadar dinlersen dinle bıktırmıyor.
  ama asıl söyleyeceğim şu aslında. şarkının enstrümantal kısmına kadar olan ana melodi dani california'nın o kendini hemen tanıtan melodisinin defalarca yavaşlatılmış hali. '' neye benziyor bu neye'' diye düşünüp dururken, cevabı yanı başımdaymış.
• john frusciante'nin o garip ve derinden gelen sesini yer yer inceleştirip, kalınlaştırdığı şarkıdır.
  
  bendeki etkisi büyüktür. defalarca dinledim. hiç sözlerine bakmadım ama ezberden söyleyebiliyorum. bu bile bendeki etkisini açıklayabiliyor.
  
  mezun senemde the empyrean ve bu şarkı yalnız bırakmadı. kafayı yemeden 1 seneyi tamamlayabildiğim için mutluyum. müzikler de olmasa akıl sağlığımı nasıl korurdum.
  
  ayrıca god ile birlikte ruhani yönelim yapmama da katkısı olmuştur. ruhani müzik yapıyor adam nasıl etkilemesin beni.
  
  arkadaki sağlam bass ritmini flea çalmıştır bu arada. flea ve john tekrar bişeyler yapsalar keşke.
  
  god, heaven, enough of me, today ve ah yom'da olduğu gibi..