I feel honored just to have a little piece of one of my paintings visible in such amazing photos from such an eminent artist, of such an eminent artist
It has haunted me— so every few years I make another attempt to find out what the lyrics are to Centuries, from the Orb album Cydonia. In 2004 I even wrote to Aki Omori through the Freaky Realistic website but never got a response. Last night I tried again and actually found one discussion with a very good attempts at decipherment… and a review with what could be the correct lyrics which I should have found so many years ago. I cannot believe how much time has passed.
Re: Music: Cutting Edge and What You Are Listening To?
Quote Originally Posted by CoffeeCup
I would like to share a fantastic piece of art with all of you. This is the song where the singers voice is a sort of a musical instrument. The voice and the music are so adjusted as the listener while following the singer is picked up by the instrumental flow and washed away to the sea of emotional music.
“Centuries” by “The orb” from the “Cydonia” album of 2001. The brilliant vocal is by Aki Omori.
I was surfing the web for the lyrics but have not found it. I can clearly hear the word “centuries” but all the others are the mystery. If somebody can, please post the lyrics!
I realize we NEVER got back to this mystery of the lyrics for this song! Shame on us!!! I surfed the Web and could not locate them even on the band’s Web site. So, I started to listen to the song carefully and realized, CoffeeCup is correct, saying the Diva is difficult to understand is an understatement
I have uploaded a clean copy of the song for anyone who wants to take a stab at this or thinks the version out on YouTube is not clear enough.
Here are the lyrics as I have been able to get them:
1 So, if (long ago and??)…somewhere
2 Every moment we shake as we (can/kiss?)
3 …for a century my memory should be
4 Moments created un…
5 As … my eyes can…you
6 Then forever I shall live
7 In a memories old friends
8 For it’s only a century away
9 If my life turns a pass (path) of pain
10 Then my love may cry out loud
11 so to take a (chance?)…in blood
12 shows life has just begun
13 For it’s only a century away
14 So, if (long ago and??)…somewhere
15 Every moment we shake as we (can/kiss?)
16 …for a century my memory should be
17 For it’s only a century away
18 For it’s only a century away
19 We interrupt this program to bring you a bulletin from the Mutual news room
20 According to an announcement from Moscow Radio
21 John Dennison of 643 Water Street had his house made upside down.
The following Centuries is the first of five new tracks in a row that were specifically written for the final release of Cydonia, i.e. the version I am reviewing. Aki Omori goes back to the studio with The Orb and delivers a Björk-like performance on a gorgeous pop song. I’m not kidding, the song is hugely positive and the lyrics about the possibility of deleting horrific memories in the near future and the bonds of friendship are quite deep. A sample of a hectically ticking clock is repeated endlessly, and the warm synth pads and gleaming mellifluence of the backing bits point to the clear trademark sound of Thomas Fehlmann.Centuries (Lyrics: Paterson/Omori) So if nowhere was somewhere And every moment we share 'cos we care Then and only for a century My memories shall be Moments create and undo As our minds can renew Then forever I shall live In the memories of friends For it's only a century away--- If my mind turns a path of pain Then my love may cry and die So to take a chance in love Shows life has just begun. For it's only a century away--
Very privileged to have my art used as the cover for a brilliant album by Dale Cooper and the Dictophones.
Mary Tapogna sold the original of this painting years ago to someone she hasn’t seen since; the subject is very long-time close friend ‘Vati. Out of all the pieces I’ve ever painted, only twice have I ever used a source photo that I myself didn’t take… and this happens to be one of them– so I really feel like I can’t take too much credit for it since it’s essentially a dead copy of an amazing photo by Vati’s brother Kris Locke.
(via archive | DEP3.)
FFWD is an eponymous album by FFWD – Robert Fripp, Thomas Fehlmann, Kris Weston, and Alex Duncan Paterson released in 1994. All files are full quality aiff’s.
This is one of my favourite productions. Its mostly Robert Fripp’s guitar work and my production, keyboards and computer tweakery. Fripp said at the time it was the best thing hes ever worked on – which is not true, but still was a great compliment :) Thomas Fehlmann and Alex Patterson were also involved, mostly in a sort of consulting role, however I’ve read things on the internet which say the exact opposite and that I did almost nothing on it – [rolls eyes]. Alex contributed some BBC sound effects records as was his usual modus operandi and Thomas didn’t do much apart from moral support and the occasional production opinion. Andy Hughes, the now deceased engineer who stole my delay unit (karma?) also did a sort of high bleepy sound in one of these tunes. He looked like he was bored so I let him. Should have sacked him there and then, hindsight is a bitch though.
…The rest of the post is very interesting for anyone who has ever wondered why the character of The Orb’s music changed so dramatically not long after this recording (the subject usually makes Kris’ flesh crawl).
The album title is an acronym for the artists, but a self deprecating joke at the ambient approach too– though this album is extremely engaging and far from ambient– as if to say, “Well, as soon as you philistines get a hold of this CD, you should probably just hold down the fast forward button.” I don’t know what the symbol in the upper left means, but it is surely alluding to the e:mit album art glyph.
FFWD has been, for the ten years or so I’ve known of its existence, my absolutely most prized album– I bought a copy of the CD from eBay for $39 immediately after finding out about it and borrowing it from another DJ back when I was doing my late-night ambient and experimental radio broadcast, Gray December, at WEVL FM 89.9 in Memphis. I have it on vinyl too. I dislike talking about music or telling anyone what to think, but I will say that it is essential listening for the genre, and like a lot of what Orb produced during this time… I will go so far as to say a high-point of all early-21st music “Buckwheat & Grits” is one of the most gorgeous pieces of music I’ve ever heard. I wore it out playing it on Gray December (and the following piece, “Klangtest”), and it defined for me those strange last few years in Memphis. I completely stole this name to use for my website, but what it exactly meant has always been known only to me.