MANIC TOYS

SOME COLD FACTS ABOUT MANIC TOYS

  1. they come from Finland
  2. the band has recently released their debut cd called 'Martian Correspondent'
  3. previous works include three singles (of which one is a double 7" record)
  4. comparisons: Faith No More, Red Hot Chili Peppers, No Means No, 24-7 Spyz,Voivod, seventies hard rock with brains, Shaft movie soundtracks,Suicidal Tendensies, the Sensational Alex Harvey Band, the Plagiators (what?), James Brown in a full metal jacket, and practically all 80s post-punk independent stuff (don't let these take the better of your own judgement, though)
  5. performances: riveting
  6. no official distribution or record deal so far
  7. current line-up: Juha Äystö - voc; Hannu Äystö - gtr, voc; Timo Kivikangas - gtr; Raimo Valkama - bass; Juhani Mäenpää - drums


A BRIEF HISTORY OF THE BAND

PART ONE
- the band is born around 1984 when five old schoolmates start playing together in the attic of a village recreation centre, the name of the band then MT-1 (according to a famous formula with which "unstable" persons could be put away in a mental institution against their own will).

- 1986. Three original-sounding demo tapes made in the two following years after which the band come second in a regional battle-of-the-bands competition, the prize: a single, to be financed through the local live music association.

PART TWO
- 1987. After this the band start working on this recording and change their name into Manic Toys when one member of the group decides to leave.

- the first single comes out almost on the eve of another competition, the Finnish rock Championship, where Manic Toys again take the second place, the prize: 2000 Finnish marks - what a letdown... No proper record deal or luscious life ensues.

- 1988. One 7" recording remains forever unreleased because of unclear circumstances and bad organization on the part of the recording company that the Toys were about to sign on at the time.

- due to enormous difficulties on all sides, MT decides to have a sabbatical year, which in effect means that they split for an unknown period of time, the bass player says he quits for good because "live performances horrify him".

PART THREE
- 1989. The band get together again. Now they have a more mature touch, perhaps a sense of humour has crept in. Nevertheless, the music is as uncompromising as ever with rhythmic hooks combined to original guitarwork and vocals. A young talent is welcomed to play the bass as the old bassist moves over to the mixing console. Two low-budget demo tapes.

- 1990. The releasing of the double single 'Four Wheel Jive'. Lots of gigs around Finland and a good deal of acclaim for being so obstin-ately original in that particular West Coast way (the bands that get the most publicity usually tend to come from the capital, Helsinki).

- 1991. Another self-released 7" record, titled 'What to Do'. By this time the term funk metal had all but pervaded the Finnish rock scene and the Toys were regarded as "just another group riding on the wave of our great funk metal genre". However, the spirit of the band persists.

PART FOUR
- 1993. Plans for a full-length album begin in the early autumn of 1992. At this point, a new guitarist enters the group. The sound becomes much more solid and versatile. It soon dawns to the band that the effort will be financially disastrous. Nevertheless, necessary funding is supplied throug vigorous gigging, and finally, alas, by selling the much-loved tour bus.

- Manic Toys spend their entire fortune on a seven-day recording session at a Helsinki-based studio. The producer is a new talent, Silja Suntola, a woman of 22 who has had her musical education in both Finland and Boston, U.S.A. The joint working period proves to be very satisfactory and the cd is released in early summer.

PART FIVE
- 1994. Almost a year later MT team up with one of the leading Finnish producers, Mikko Karmila. His work is greatly valued among local musicians. A man in his thirties, he has already managed to achieve outstanding results with bands like Stone, Waltari, Moon Cakes, Damn the Band, Don Huonot etc., to mention a few. The results of his co-operation with Manic Toys will be possibly released as a four song mini cd during the first half of 1995.

- one more recent piece of news worth a mention - and this is for all you fans out there, beware: the band has undergone substantial changes in its line-up since last autumn. The Osmo brothers have left, and they have been replaced by Raimo Valkama (bass) and Timo Kivikangas (gtr) from a successful all-Finnish band Kolmas Nainen which split up during the summer of 94. What does all this mean? Old age setting in?
A sudden shift in style towards muzak galore? Will their records ever be the same, or their audiences, for that matter? Frankly, even the band is unable to answer these questions, but don't forget us just yet! 'Cause we're still far from the grave...

- anyway, shortly after recruiting the new members Manic Toys embarked on making a video based on one of the tracks on the up- and-coming mini cd. The video, entitled Torso, will be featured among Finnish rock videos at Tampere Film Festival on 8.-12. March. With the help of the video and new cd, Manic Toys aim for the European market in 1995.


DISCOGRAPHY

7 " Records:

Albums:

Other material:

SOME REVIEWS OF MANIC TOYS CD 'MARTIAN CORRESPONDENT'

(Tracks: Silver; What to Do; Gumbo King; Behind My Back; Raincoats on Fire; New Year's Eve 00.15; The Keeper of Keyholes; Give the Blues a Birth; Willie the Wolf; Shapeshifting; Kossu Plane; Volunteers. 1993. MTCD 4.)
 
Self-released and therefore very cheap, but with the quality 
package, sound and music you'd come to expect from them. Powerful 
funky punk rock with hints of the Red Hots (surprise) and Faith No 
More - especially singer Juha sounds a lot like Mike Patton... 
really! 
 
An extract from a Danish independent record catalogue 
**********************************************************************
 
Die CD von 93 beinhaltet 2 Songs von der 7" nur neu aufgenommen - 
man hort dabei eine deutliche Weiterentwicklung (wesentlich 
schneller, rappiger) ansonsten gilt das Gleiche - Chili Peppers,  
Freaky Fukin' 20/4/7 Spyz, ... 
Bei: Juha Aysto, Tursont. 16 A 1, 00610 HKI, Finland.    
 
Glu, FLEX DIGEST, AUSTRIA 
**********************************************************************
 
Finalmente dopo una serie di 7", i finlandesi Manic Toys giungono 
all'esordio sulla lunga distanza con Martian correspondent... 
raccolta di 11 tracce di musica originale ed intensa. Già nei 
precedenti lavori i nostri avevano mostrato amore per il punk-rock 
e sonorità funk. L'accostamento immediato potrebbe quindi essere 
al Red Hot Chili Peppers, ma dalle note di The keeper of the 
keyholes o Give the blues a birth e' evidente anche la 
reinterpretazione voluta del classico rock 'n' roll o del blues 
(I'm gonna give the blues a birth/Yea, it looks like dead to 
me...), che liluisce le composizioni piu' punk (Kossu plane) o 
quelle ritmate (What to do), impregnate, quasi in contrasto, di un 
feeling ed un sound molto seventies. Un debutto vario, godibile, 
intelligente. 
 
Francesco E. Guida, FREAK OUT n.10, anno IV, ITALY 
**********************************************************************
 
One of the many many monkeys spawned by Chili Peppers virile funky 
metal marriage. These are Finnish, independent, and can swing with 
the best of them, but monkeys are monkeys and you've seen all the 
tricks before, there's nothing much new here. 
 
D.D., DREGS, ENGLAND 
**********************************************************************
 
Suupohjalainen Manic Toys on tulikasteensa läpikäynyt, 
omaehtoiseen rockiin vakavasti suhtautuva ryhmä. Vaikka Manic 
Toyseja ei parhaimmalla (pahimmalla?) tahdollakaan voi kutsua 
mainstreamin edustajiksi, on ilmassa sellainen hytinä, etta bändin 
aika voisi olla juuri nyt. 
Terveellä itsetunnolla varustettu MT hakee lähimmän sukulaisensa 
aina Red Hot Chili Pepperseistä ja heidän rytmipunkistaan asti. 
Kitaratäyteisessä soitossa kuuluu, RHCP:n tavoin, myös funkin 
vaikutus, mutta teksteiltään väitän Manic Toysien ja Juha Äystön 
olevan surrealismissaan loikan pippureita edella. (Toivottavasti 
Juhan osaamista huomaa jokin rockin opinahjo hyödyntää - hänen 
tasoisiaan englannin taitajia ei joka oksalla kasva.) 
Avausbiisi "Silver" olisi muuten levy-yhtiö Spinefarmille singlen 
paikka. Groovy! 
 
Reijo Korpeinen, ILKKA 3.7.93 
**********************************************************************
 
Manic toysin määrätietoista pysymistä omalla linjallaan (mikä se 
sitten onkin - 'kulmikasrytminen, angstisarokitararock', kenties?) 
täytyy kunnioittaa. Bändi on puurtanut lannistumatta jo vuosia 
tietäen, ettei sillä näillä eväilla ole pääsyä isoille tai edes 
keskikokoisille markkinoille. 
Marsilainen kirjeenvaihtaja on sitä tuttua vimmattua Manic toys -
piiskausta, jonka välittymistä täydessä tehossaan haittaa levyn 
laimeahko saundipolitiikka. Tuntuu myös siltä, ettei Juha Äystön 
sävelkynä ole ollut aivan terävimmillään. Kokonaisuutena silti 
kelpo suoritus. 
 
Rami Kuusinen,  AKSENTTI 7/93 
**********************************************************************
 
Self-released and therefore very cheap, but with the quality 
package, sound and music you'd come to expect from them. Powerful 
funky punk rock with hints of the Red Hots (surprise) and Faith No 
More - especially singer Juha sounds a lot like Mike Patton... 
really!    
"I would strongly suggest that you do as I say and buy this 
single, except, unfortunately, I have no idea where you can get 
it... If you know where to get it, do so. Pretty killer." -Your 
Flesh (review of their 3rd single).  
"I had been desperately looking for the Manic Toys for some 
time... I want to get all of their releases!" -Jello Biafra)  
 
An extract from a Danish independent record catalogue 
**********************************************************************
 
Manic Toyshan on se Räkärodeostakin tuttu ("...klanipään soittaman 
musiikin taharis..."), alunperin pohjanmaalainen yhtye, jota on 
ilmeisesti koko uransa ajan verrattu Red Hot Chili Peppersiin, ja 
niin minäkin ylitän aidan matalimmasta kohdasta ja yhdyn kuoroon, 
sillä eihän noita vaikutteita voi kieltääkään. Mutta ei ko. 
seikan tarvitse haitata kun tämä on joka tapauksessa niin 
ammattitaitoista (studiotyosk. + engl. ääntäminen), hyvin & 
tiukasti soitettua  energista indiefunk (punk) rockia. Sanoitukset 
on... mielenkiintoisia (Kossu Plane tietysti klassikko jo 
syntyessään)... Kokonainen pitkäsoitollinen (12 kpl) ei kaikkein 
karsimattomimmalla hetkellä mene silti ihan heti läpi, ehkä levy 
on jotenkin tasainen - mikään biisi ei nouse silleen 
hittipiisiks... 
	 
Jantsa, TOINEN VAIHTOEHTO 48 
**********************************************************************
 
Muutamalla singlellään rocklehdistön kohtalaisen myönteisiä 
arvioita netonnut Manic Toys ei olekaan aivan turha bändi, sillä 
sitä on verrattu vallan Red Hot Chili Peppersien ja Faith No Moren 
kaltaisiin rymyryhmiin. Omakustanteinen Martian Correspondent -cd 
todistaa kuitenkin, että combo ei ole mikään The Plagiators, vaan 
ihka omilla ideoillaan ilmiselviä vaikutteitaan höystävä, ärhäkkä 
äänilähde, josta jonkun näkemyksekkään tuottajan avulla saattaisi 
poikia vaikka millainen indiehitti. Monen biisin toteutuksesta 
henkivä henkilökohtaisen osaamisen taso ainakin ylittää sen 
kynnyksen, minka jälkeen kaikki on kiinni vain asenteesta ja 
ajoituksesta. Metallinhehkuinen kirskunta ja napakasti loksahtavat 
kompit ovat kypsää kauraa, dynamiikkaa ja sävyja peliin niin 
paikka ylemmässä loppusarjassa on hanskassa. 
 
Jaakko Erapuu, RYTMIMUSIIKKI 7/93 
**********************************************************************
 
Martian Correspondent on Manic Toysin neljäs viesti avaralta 
Pohjanmaalta universaaleille ihmisille. Taitava Red Hot Chili 
Peppersiin seonnut kauhajokelaisryhmä, aggressiivinen ja 
funkkaava, niin kuin asianmukaista onkin. Cd:n kakkosbiisi What to 
Do on itse asiassa pirun hyvä nykiva rappi, Volunteers enempi 
tolkuton meinikitapaus. Uskaliaampia kokeiluja toivoisi bändiltä 
kaiken kaikkiaan muutenkin lisää ja kun rytmiä on kerran tarkoitus 
käyttää hillittömästi, niin sitten sitä pitää olla yliannostetusti 
mielin ja määrin. Generatorsin lisäksi on olemassa myös siis 
enemmänkin funkya joka tiukan paikan tullen saattaisi toimiakin. 
 
Veda Honkanen, SOUNDI 11/93 
**********************************************************************
 
Manic Toysin ilmoille meuhkaama funkmetallihan on Suomessakin 
melkoisessa suosiossa Faith No More, Chili Peppereiden ja muiden 
ulkomaan pellejen ansiosta, mutta suomalaiselle bändille sarka 
näyttää olevan kova kyntää. Manic Toys osaa hommansa taiten ja 
tyylinsä säännöt tuntien, mutta arvonantoa ei irtoa kuin pisara 
ulkomaisten kollegoiden vastaavasta. Syyt on helppo ymmärtää: 
tarvittavia soundeja ei pikkurahalla väännetä, suomalaisten 
rytmijalka svengaa perinteisesti kuin jäykkakouristuskohtauksen 
saanut hirvi ja Kiedisin tasoisia vokalisteja ei yksinkertaisesti 
ole.  

Kaiken tämän jälkeen pureudutaan itse levyyn - joka on hyvä, taidolla toteutettu ja hyviä biisejäkin sisällään piilotteleva. Vuosien uurastus on ollut vaivan väärti ja yhtye nakuttaa yksiin tiukasti. Vertailuasteikolla sattuu väistämättä vastaan hollantilainen Burma Shave - mahtaakohan keikkameiniki ja suksee vain olla samaa tasoa?

Jokelainen, JUNGLE 2/93 **********************************************************************


MANIC TOYS INTERVIEW FOR ELYSIUM

(published in Elysium #3, in 1994, contact address: Elysium Fanzine, c/o Mikko Lappalainen, Riistapolku 9, 29600 Noormarkku, Finland)

1.You've finally released your full-length debut record. How do you feel about it now? Do you think there's a lot that could have been done better? What are the strong and the weak sides of 'Martian Correspondent'?

- looking back I must say I'm extremely happy that we finally got around to making this record last spring. As musicians and artists we felt that it needed to be done - after all we've been around for more than seven years now. A big but natural step for any band, except that we never dreamed that we'd cope the massive load of work that releasing your own record involved.

The positive side of it is that the project went according to the schedule: studio, sleeve, manufacturing etc. We could do better with sales, though. The independent market has been rather slow to react, although 'Martian' was released already during the summer. (Damn, it's only the first entry, and I seem to reveal my motivation for doing an interview with Elysium, ha ha!)

The strongest feature of this record is that it was planned well. The whole concept from the beginning to the end is just... meant to be there. The music isn't quite the average type of stuff that you hear, either.

As a result of the previous remark you can neatly guess what the weak points are. Publicity is, of course, one. The Finnish audience are not quite aware that bands like Manic Toys really exist. When a band then releases a record and the music's not quite what they expect, it only makes matters worse. Then there's the language factor as well. Finnish bands singing in English aren't really taken for granted; in short, they are not thought of as being honest in their expression as opposed to all-Finnish bands. We're not just another anglo-macho rock'n'roll band trying to sound like somebody else. The Toys' lyrics (plus music) takes a bit of concentration, which may be too much for some people.

2. 'Martian' is a self-financed CD. Why is that? Did you even look for a label or is it just that they think you are not commercial (or whatever) enough? How did you get the money for putting the CD out?

- to this I could answer that it was due to a trait in our nature. See, people in Pohjanmaa have always made the most of such negative feelings as envy and jealousy in their lives, and this characteristic has reached such levels that nobody really trusts anybody any more. That is why we, half-intentionally, decided that the whole project should be carried out as D.I.Y. work.

When it comes to the music business, Helsinki and major record labels there have always seemed (for the majority of musicians, I'm sure) too distant to be thought upon as a working alternative for other than groups based in the capital. It is all a question of reliability and good connections i.e. the basic comfort that an artist seeks when he signs for a label. This, I feel, Finnish record companies lack. [There are numerous small labels scattered around Finland which aren't that bad, though. Unfortunately we haven't had time to try and find what would be the most suitable one for us. PR and getting to know the right people takes so much time that it is bound to affect your playing sooner or later.]

I wouldn't like to put too much stress on money, since we hear about it so much these days. The only thing worth telling is that we decided to sell our long-time companion and wonderful nuisance: the band bus. Some old guy from southern Finland bought the vehicle in order to make it a sauna on wheels (!), and we haven't seen our Scania since. The money from the bus covered nearly half our budget, the rest we had to scrape together little by little. Footing our big bill is still going on, by the way. [We put in an application for this 'tuotantotuki' thing at ESEK, but it didn't work out. They probably didn't think our music was 'recordable'. Nearly everybody gets 'tuotantotuki' these days, did you know that? This only strengthened our beliefs in the vagueness of the Finnish record industry.]

3. You've re-recorded 2 of the old 'What to Do' single tracks, why is that? Do you think you have brought something new to them, they sound like 'undressed' versions of the 'original' songs. And 'What to Do' has a truly angry groove to it!

- some two years back, after the single 'What to Do' had been released, the band reached a certain standstill. We'd made three 7-inchers but we weren't completely satisfied with the sound. Of course it sounded rough enough at the time, but we wanted to solidify the gig sound as well.

Pasi Osmo's brother Kimmo happened to be the right man in the right place for us. Besides, he already played on the B-side of 'What to Do', and it proved that he had the sort of touch that would not mingle too much with Hannu's guitar work. When Kimmo came along, it was only natural to play some old songs with him, and this is how the new arrangements sprang up.

4. Your lyrics are very good in my opinion. How do you come up with them? Do you have examples of situations that made you grab your pen? And how did you come up with 'Kossu Plane'?

- one must remember that MT originally started out as a band that exploited both Finnish and English. Later on, as I developed my skills in writing in English, the bilingual path was abandoned. I learned to enjoy expressing myself in a foreign language. The thing is that it somehow opens up a different vein in your thinking, and it shows. I'm much more creative when I express my thoughts in English.

Such worn-out feelings as love would only arouse platitudes in me when writing In Finnish. I'm afraid of platitudes and overused words, such as maailma, elama, rakkaus and even rock! Somehow this doesn't happen in English, at least not too often. The band offers me a new approach to things in general. I only hope that the described refreshening effect won't start to diminish for another seven years. I mean, there's always the possibility that English becomes too self-evident, and there I go again - looking for another "mother tongue"!

The origin of my lyrics remains a secret, 'cause it's a bit obscure even to myself! ...And I prefer to keep it that way as I wrote before. The working process varies. Sometimes I get an idea, a line, for instance, and nothing happens for a while. Suddenly the piece is just there, woven around a single idea or line. Quite often a good cue might be some probable name for a song, which I know not too many songwriters are into. Examples of titles that I've built into songs are e.g. 'Gumbo King' and 'Raincoats on Fire'.

'Kossu Plane' was initially just a short entry in my notebook about how I experienced Midsummer 91. When I heard the boys playing one of their crookedly rhythmic tunes some time later, I discovered that it was ideal for my purposes. The idea for the pun plain/plane came quite naturally: plain 'raaka' booze is apt to take you to a sphere (plane) of your own, indeed. Using a Finnish word in the title fascinated me also. I knew it would arouse interest both in Finnish and foreign listeners.

5. The cover of your CD is very neat and stylish, too. Who designed it, and is there something deep and meaningful behind it, a concept of some sort?

- the same photograph appears both on the front and back covers, only the developing method of the photos differs. The photo is of my girlfriend doing one of her loony 'performances' and it's taken by a friend of mine whose into amateur photography (Ari Suomalainen). The minute I saw the picture in a series of negatives I connected it with the cd's concept, Martian Correspondent. I began to work on it and the design found its way relatively fast. We did some joint work on the lay-out, my girl and me, 'cause she seems to have an eye for these things. And she didn't want her breasts be seen to protrude too much from under the plastic she's wearing in the final version of the picture!

I named the cd 'Martian Correspondent' because it best describes Manic Toys and me as the leader of a band. The stuff on the album is so different from anything else Finnish that it is not hard to imagine me going around and actually feeling like a Martian all the time. I've always been a loner, yet a very social one. When you perform you like to stay in contact with people as in real life. This cd is an attempt to make contact, unusual as it is. So, that's where 'Martian Correspondent' comes from. Got it?

6. What do you think about your old 7-inchers nowadays? Do you still play the songs of your legendary double-EP? Are they included in your gig set?

- yeah, whenever we're in the right mood we tend to play old songs as well. I don't know about legendarity, but we made a weird reggae version of 'Turn up the Stereo' just a few weeks ago. New approaches to old songs are occasionally not far from downright maltreatment, as you can imagine. Gigs are a different matter, of course. One must leave a hint or two for people to hang on to. Otherwise they might get frustrated. We are pretty slow 'composers' anyway, so old songs are a part of the repertoire quite often.

7. What the heck makes 5 guys from Pohjanmaa get interested in rhythms that are from a totally different culture, from another side of the globe?

- I don't know if this is a relevant question. The rhythms were there, and we were there. That's how it happens everywhere in all walks of life. It was much harder to find proper people for the band at the beginning. People with approximately the same taste, inclinations etc. Still, we are very different personalities among ourselves.

I've always been told that I have a truly strange sense of rhythm. Who cares? I only do what satisfies my musical drive. The last time my motivation for rhythm and the listeners' views coincided was before the great funk wave some five years ago, when we were regarded as 'being ahead of our time'. It was problematic. In what respect were we pioneers? We never attempted to acquire any pioneer status. A good musician should never try to capture the essence of time, when time is really what music is all about! Bars and bars of music in space... Alright, I'm getting a bit Hawkwindian here...

8. How do you view the relationship of rhythm and melody in your music? Does either one step on the other's toes, and are you going to stress melody in the future? Or are you basically 'rhythm' people?

- the best results in rock music these days, in my opinion, are achieved by those who know how to combine rhythm and melody into a working, hypnotic groove. Rap and the whole sampling culture, for instance, is a wonderful phenomenon, and its effects can be readily seen everywhere. Frank Zappa has compared his guitar work to speech, and why not? Speech has rhythm and melody, so it's quite understandable that present rap music works.

Our music has always been dominated by rhythm and a definite pattern of riffs. I can happily quote Chuck D of Public Enemy, who said "hell, I can't even play lotto!" My knowledge of playing and melody is very basic. That's why putting together an album in a studio was so rewarding. Shapes of melody could suddenly be discerned amonst all the noise. I'm not saying we want to give up making noise, but I believe studio work offers more possibilities to enhance the importance of various sounds (Cf. Faith No More's 'Angel Dust'). Jesus Jones, as 'normal' a rock band as it may be, has also done something important in this respect. And at the other end of the line: Einstürzende Neubauten.

9. Doesn't it get on your nerves that you've worked hard and done a decent job and you still don't have a record deal etc. Is it frustrating?

- no doubt it does. But we don't want to talk about this. One must stay optimistic. We are actively looking for interesting foreign contacts, however.

10. Future?

- predominantly gloomy. [See how the last question made me feel!]

11. You said you were not completely satisfied with the sound. Could you put your finger on something?

- the sound on 'Martian' is 75% OK. We could have improved on the rest simply by staying a bit longer in the studio, which wasn't financially possible, however. What's more, the whole album must have been put through an equalizing filter during the cd- manufacturing process in Austria. The material sounded much more alive in studio than on disc.

I shall not go into personal playing here. What with the flu that I'd just recovered from, our bass player's tendinitis (inflammation of tendon(s) in arm) and the fact that our producer was a completely new person to us (a wonderful lass though), I'm convinced that everybody could have played more intensely. But mainly it was just a matter of time - and fucking money...

12. Anything to add for the closing?

- I must admit that it is only recently that I began to see music (and culture in general) as a specific pattern in each country's history. Sometimes - and especially in our times - originality and global climate intermingle and produce an interesting mixture. This is what Finland, for example, looks like today.

What I'd like to say, I suppose, is that everybody should be proud of their roots, no matter what the culture they're born in is like. Good self-respect never hurt anyone. Nevertheless, adaptability is an A-f**king-major characteristic to possess in the future world, I'm sure.

Finally: greetings to... other Martians.


FUTURE GIGS


LYRICS

Velvet Pain

Baby is so young
Yet so many memories
Are prepared to meet her

Time is martyrdom
Day after day ice in my bed
Sleeping within

Yes I know the secret
Yes I share the secret
Yes I love the secret
That's in your mind

Oh to die with you for a while

Like sand on snow
We are to show
Cold hands admire
The friends of fire

They do not know the way
To die with you for a while

You're my velvet pain
And I've got you
In the beat of my drum

Warfare Green

Sugarcubes and salty food - I love it
Don't tread where you want, don't tread where you dare, be careful
Cos there's a black hole and it's working on the red shift
Clear enough to be seen
And I come in, staring at the ceiling
Like a fish from the dark

Cos it's not gonna change, it'll stay the same
Is it not gonna change, it'll stay the same
Cos it's not gonna change, it'll stay there very strange
All of it

Blood is the ransom, love is just a vow - I come in
The least you can do is the least you can do
Let's hope that you've got something in the pipeline
Some aces up your sleeve

Cos this is the future in warfare green
We haven't seen that money is a gene
This is the future in warfare green

Chocolate dreams and garden gnomes, anything goes where the
buffalo roam
Time is money, percentage on a loan, got to get level with the
party zone
No explanation, it ain't me, we're on probation, hide an' see
She's a nice girl, I'm a perfect man, we got a boy-child, he's our
fan

Sliding down the banister, another stockjobber with a register
When he's dropping figures in the place to be, U.S. of Europe is
our destiny
Standardising, maximising, if your face ain't right, you need CAD
reviving
It's a long way from the actual border to the border of
expectations

Afraid we'll fade, we'll fade afraid
Afraid we'll fade, we'll fade afraid
Afraid it's too late to change
And all of it

Sugarcubes and salty food, that's what I like
But - never tread where you want, don't tread where you might care
Cos there's a black hole, and it'll suck you into the scheme
So clear enough, every time you turn to me
I'll just turn my face away

You may shake a hand and shake a leg
Drink a lot and go to bed, afraid
Afraid, it'll never be the same
If alien defences now smother all you senses
So hard to tell a friend, so hard to tell a friend
Round, round, round you go in an instant coffee rodeo

What to Do

What to do now
What to do then
What to do why an'
What to do when

What to do now
(Ah'm not what you are)
What to do then
(Ah'm not what you are)
What to do after
(Ah'm not what you are)
What to do when

I get shadows & light
Like I was born tonight
I got the dark and light
Looking down from a dizzy height
Somewhere up the ladder
Brimming over with a reason to live
I call it kismet

She's got the power of life

The Keeper of Keyholes

How can I be sure
That you're mature enough
Senses sprouting from the floor
Poking in the air, who wants some more

No smoke without you know what
No face without a thought
If you want to see me twice -

Didn't cross my mind
That I wouldn't need to find you here
Now everywhere I turn I feel
Like caught in a game of peekaburn

No smoke without you know what
No face without a thought
If you want to see me twice
Check the keeper of keyholes
The keeper of keyholes

Speaking to Read

Jesus C. was born under
A flaming star
Mr Hitler saw the light
Underneath a hungry flag
Marshall McLuhan spent
An analytic life before a TV set
I've been waiting for the funtime
No rest until it's done

So many stories
To give you consolation
Eternal observation, soul evacuation
Where dust defies the road

Here I come
Here I come and go again
You shouldn't ask me why
You shouldn't ask me where
'Cause I'm about to leave
This place of ease
Give up the generation
That's speaking just to read

I need a place to hide
I'll write a letter
End of obligation
Patience gone too far

Give me just a little light
Show me a bit of light
No speaking to read
'Cause I might go POW!

[spoken]:
...excuse me, here again -
see those hot young stars
for orbs finally turn into
white dwarfs, and baby
I don't know what's yours
and what's your jaws
but you've got nothing
absolutely nothing, nil...

speaking to read
speaking to read
speaking to read
speaking to read

From beneath these case-hardened hinges
These long-troubled nails
I listened to the hollow walls
Always sound the same
I held my head to prevent
The under hair and skin
Something out, there's always something in...

Give me just a little light, show me a bit of light
And nearly every day they call this place a home

Shapeshifting

Listen and I'll take you back, so you can make it
Running is a habit and you shouldn't ever break it
By the four legs of mine, it's a sign
The world is bound to be unkind
The wind is cold and I feel right naked
Hear the call?
Sicherheit
Sicherheit

Unfinished, wet clay, none done - run, paint, run
Unfinished, wet clay, half done - run, sweat, run
By the four legs of mine, it's a sign
Apes & wolves we're gonna find
The wind is cold and I feel quite naked
Welcome all...
Shape-shift-shape-shift-shifting Sicherheit
Shape-shift-shape-shift-shifting Sicherheit

Listen and I'll take you back, so you can make it
Running is a habit and you shouldn't ever break it
By the four legs of mine, it's a sign
Apes & wolves we're bound to find
The wind is cold and I feel right naked
Welcome all...
Shape-shift-shape-shift-shifting
Shape-shift-shape-shift-shifting

Give the Blues a Birth

There are countless methods
to override a refusal, I'm told.
But this I never expected.
She talked to me first!
And before I could say anything...
The moon was nearly full,
and I was nearly gone.

Just a plain beat, strapped
with a skeleton of a melody.
Pumping hard and coarse.
Startled. Made me prick my ears.
Pinched them, in and out,
like it had been carried here
from all quarters at the same time.
South & west. The Wild East.
Mother Russia in a nutshell.
Evil parent: vodka & margarita.
Huh - atavistic sensations.
Rape mathematics of a higher kind.
Yes, I felt it.
A crooked smile and a bare knuckle.
Belt and buckle discarded.
A precious reeling and - wooah yes
a kind of rocking feeling, too.
The moon was nearly full,
and I was nearly gone.

I'm gonna give the blues a birth
Yea, it looks like dead to me

Make it more than just a whisper
That's how she talked to me

We've been working like a foot now
Been jamming like a cool caress

The deeper we go the better
Give birth, give birth...oh yes

Kossu Plane

Traffic up to my neck, rollercoaster demons
Traffic up to my neck, rollercoaster demons
Traffic up to my neck, rollercoaster demons
Here inside, in my head, rollercoaster demons

Taking my kossu plain
Is like drinking tar and pissing feathers

Take it slow, take it fast
See how long you will last
See how long you will last

See how long you will last See how long you will last...

Derailed

Willie the Wolf

A gentleman is a patient wolf.
The definition for a man is a patient wolf.
Try the patience of a gentleman and soon discover a wolf.

I'm a patient canine in a gentleman's clothing.
A feral canine in a three-piece suit.
Should wolves wear clothes, they'd often be taken for men.

Better get it right
Just because I'm weak sometimes

Hullo, the chase is better than the catch.
Just give us some time to see what will hatch.
There's a wolf in my head, but I was brought up a man.
There's a wolf in my head, but I was brought up a man.

Better get it right
Just because I'm weak sometimes

So don't scold us
Or give no lip
You'll make us move
Not with a finger
But a hip

'Cause I'm Willie the Wolf
And I'll blow your house in
In - IN

Little Red Riding Hood walking in the woods
Met a wolf in disguise, was baffled by his looks
Thought she would be near dead in her granny's bed
But amen - she was saved by a gentleman

Gentlemen make wonderful pet wolves.
Even true gentlemen are merely patient wolves.
A gentleman patient strayed into the women's ward
- and they wolfed him.

Better get it right

Torso

From cracking a joke to cracking a nut
That's what she spoke, that's why I'm not
Too many a burden in womanhood's way
Denial for freedom with no shades of grey
(torso)

I'm through with the torso you think I am
My sympathy's fake and my life is a sham
It's me, it's my son, it's the whole family
A prisoner of gender, no controversy
(no controversy)

I'm through with the torso you think I am
N-O-C-O-N-T-R-O-V-E-R-S-Y
I'm through with the torso you think I am
N-O-C-O-N-T-R-O-V-E-R-S why

Quantum Funk

It's quantum time again
Down by heaven sent
Mine to steal & yours to find
Do right and don't repent

Yeah

Call us what you like
This is no poltergeist
You can reel to the quantum feel
No woman, no Christ

Yeah Quantum funk - leap
I don't know x 2

Elementary particles vibrating
Perfect, yet set within a set
Directions overflowing, nature not precise
Set within a set, all begin to fret
Quantum funk - leap

Access denied
Leaping for life

It's quantum time again
So infinite in extent
On my way to the light of day
That's down by heaven sent

My oh, my oh, my friend
See what I meant
It's mine to steal & yours to find
Do right and don't repent


Created: 8. March 1995, 21.25.33
Last Updated: 8. March 1995, 23.32.33