Monthly Archives: February 2011

Why I sleep with my fingers crossed

Because of the cold, my mornings have a pecking order
starting with my eyes
adjusting to recognize shapes
as I stumble to the toilet – round robin egg
my feet hiss against ice in the porcelain floor
concepts like evolution or wine have no warrant
in this hour. It is pure like dew.
It is the rice hour.

A white light seeps onto the walls
and not gold. I redefine much of my world
before I towel my face dry
and dress for public citizenship.
Until the duties are checked
my mouth washed, my water baptism,
the early grey may hang me still
posture is cardinal.

But when I gather my clothes to myself
I am released to fish for dreams
of my grandparents I just woke from
that made me wonder
if they are alright, stirring
in that house, so far across the water.
I don’t know how it is that I count their cameo
as a premonition.
Is it because I began dreaming of January most
when I knew I would never see her again?
Or maybe it is because my grandparents are
simply growing old.
Or is it perhaps because someone is telling me
a beautiful story in the night
and I am listening in the wrong way
and become afraid.



“01-10” (or OK Computer + In Rainbows)

A little something to hold you Radiohead fans over until The King of Limbs…

What does a band’s album have in common with another one it releases a decade later? Normally the answer is not a whole lot. It would appear that for Radiohead in the case of OK Computer and In Rainbows, the answer might just be “everything.” Why? It’s possible they were recorded at the same time, and intended to be played together as one cohesive two disc album. Or if not, then maybe the band just conceptualized In Rainbows to fit OK Computer to be cohesive in a pretty specific way. The data:

The working title for OK Computer was “Ones and Zeros” a binary reference. So in binary it would be “01.”

The two titles of both albums have the same cadence: _ _     _ _ _ _ _ _ _ _.  Ten letters each.

The cover for In Rainbows looks like this:












How many “10”s do you see? 2. Hmm. So we have “01 and 10.” Moving on…

OK Computer was released in 1997, and In Rainbows in 2007. Ten years apart.

Before the release of In Rainbows the band left ten mysterious messages, which featured the character “X” which is the Roman numeral for 10. The last message was a photo of the band, posted on March 10th.

The news of In Rainbows being an album was somehow kept a secret, and announced only 10 days before it’s release.

In binary code, “01” and “10” compliment each other, so what if I did this:

We get a set of 10 songs. Then two songs on OK Computer “Karma Police/Fitter Happier” separate them from another set of 10 songs.

Now this seems weird until you start listening to it. Airbag is the exact same tempo as 15 Step.

This might prompt you to turn on the crossfade option on iTunes. (Preferences > Playback). How long? Let’s try 10 seconds.

With this on, “Body Snatchers”‘ transition into “Subterranean Homesick Alien” seems a bit too perfect to be coincidence. And it’s not just because the last chord on Body Snatchers and SHA are basically the same thing.

Maybe “Nude” transitioning into “Exit Music (For A Film)” doesn’t convince you either even though it’s equally conspicuous.

But then with the 10 second crossfade enabled, you’ll notice that at the exact moment when Thom finishes singing the last word “choke” from Exit Music, it’s the same moment when the first beat of “Weird Fishes” kicks in.

I didn’t even notice the transition between “Let Down” into “All I Need,” it was completely smooth. The progression from “All I Need” into “Karma Police” is almost scary with how well it fits.

Again, with the ten second crossfade on, the last word in Fitter Happier “antibiotics” ends right when Thom starts counting in “Faust Arp.”

The long fade out in “Reckoner” matches the long fade in of “Climbing Up the Walls.” If this were unintentional chances are good that it would have had a song explode in with a quick intro or sudden drop as Radiohead songs often do, but somehow these match. Ten years apart.

Climbing Up The Walls suddenly shifts up in key right at ten seconds before it ends. This just happens to be the one “House of Cards” is written in.

Enough about the music, lyrically this applies as well. “Lucky” ends with lines like “pull me out of the aircrash… we are standing on the edge.” Then “Videotape” kicks in with “when I’m at the pearly gates.” Even the lyrical ideas flow like this throughout most of the album.

There you have it. Jigsaw falling into place.



Black clippings
a rigid bookend week day
slippery assembly of presence
rendering half dreamt enigmas
incalculable, puzzles missing pieces
missing proof though clear images
clear animus
armed with abaci
missing beads
Sweat drops left on the
coffee table
Three hours for an ounce of revelation
no revelation for sale
no black friday revelation special
Dammit… dammit
waited all damn year.
Fill in gaping holes
with canonized hoodoo
numerical incantations
logorrhea academia
aggressive type
No [verifiable] cure
Can we be saved…

Call caffeine a mettle supplement
I had a dream of men in hoods
over collared shirts, sacrificing bulls to a brain
in a glass jar
of course as a metaphor.
Be not afraid, I am told
of the meaning of the cross
long time shake off
running to be exhaustive:
tightrope security.
Though under riotous reservations
am I not
trembling… trembling?
Oh God, here I am. Trembling.
Yes the imbuing emptying
and yes the stonewall of axioms
but who can reject the trembling…

We have highlighted the errors sir
every last one we could find.
I’m sorry, excuse me
No, we have no suggestions
for you at this time.
Resurrection fugitive
wilted legs stagger on
pad in the warmth of your body with abstract
ideas of death.
Ideas, in wait for Death-
[or The Scythe of Truth.]
the long scorned blade of truth
it’s sharpness a myth
word of it’s bluntness sanctioned as truth.
The word truth made a chimerical cant.
Time turns skin to rice paper
legends of the blade remain synthetic tales,
private jokes of incorrigible faction
shooting to make the world
Double the hell over
we in cold sweat woke
to what we called Dreams
of the Absolute Edge
long called fiction
long prophesied trumpet
bel canto
kami no kaze sasayaki
the Baals broken hands
facedown cracked ashtoreths
debris across carpets and polished tile
we promptly call the maid
absently unafraid.
We promptly call ourselves
no less than unafraid.

“Baby welcome to the drunken light
Where there are no anchors,
Chaos is an acquired taste.”
Did the feeble sheep herders get it right
Transposing angelic lyric
Aramaic tongues
Did Cohen cover Hallelujah and just
f^k up the w-rds
we used our w-rds to kill our words
bent our word into a crowbar
smashing into glass houses
we trapped stonethrowers in.
Or where we kept our Baals
calling them names like
Untitled or
Weltanshaung Pending, …Work in Progress…
–Site Under Construction–
im a reasonable man get off my case
we shrug and not bend knees.
Our baals are shrugging
our atlas is shrugging
our whole world is spinning swift ahead, decidedly