But they aren’t all related like the first five lines in the first stanza are, so Bowie broke each of the first three lines up with a “sons of the silent age” to make clear that each line was a standalone projection of a potential existence. You pick someone, or you make something, or you listen to something. The first words in the first three lines are “listen”, “pick”, and “make”. This time there are only five normal lines. Let's take another way in (kicking the ****ing door open for existence! We’re getting there baby.) Existence just isn’t going to let this created conceived human life form be deprived of existence! If it isn’t deemed worthy or lucky enough for Earth then it will find existence in some other way God Damn it! ![]() The chorus is the essence of existence itself crying out to the baby while it’s in the womb. Then decided it couldn’t be done (these last two lines refer to the people depriving existences of existence on this planet.) The last two lines in the stanza step away from the contemplation of potential livelihoods the aborted would’ve had, and this is specified because they start with words “search” and “then”. Rise for a year or two then make war (People who die young but make a huge impact.) Pace their rooms like a cell's dimensions (Thinkers! They’re the thinkers!) Lay in bed coming and going on easy terms (either apathetic people, or people who would have had aborted an existence had they not been aborted themselves) Sit in back rows of city limits (people SO close, but still isolated from society/people) Stand on platforms blank looks and note books (in charge, but oblivious) Each one is a one-line summary of a certain lifestyle/presence on this planet. He sings them all together to express how existence all blurs together. Bowie expertly sings the stanzas all together so you assume each line in the stanza builds on each other, but they are completely and utterly separate. In other words, all the different kinds of lives all the aborted existence would’ve had. (stand and rise are in the context they are used) So while the whole stanza is talking about sons of the silent age, since these 5 words are mutually exclusive each line is talking about different groups of sons of the silent age. The first words in the first 5 normal lines in the first stanza are all related words, but directly conflicting with each other. ![]() Sons of the Silent age = aborted existences. The second stanza is 5 normal lines, and three repeats of Sons of the Silent Age. The first stanza is 7 normal lines, and three repeats of “Sons of the Silent Age”. David Bowie is far too brilliant to have a song about a political issue. It’s about aborted existences and by extension, existence itself. To be clear, I don’t mean the song is about abortion the political issue. Song lyrics (if you read comments you can probably guess what my name is) Then one day it all made perfect sense to me in a fragment of a second. I listened to this song sooooooo many times and had no idea what it was about. 5.Sons of the Silent Age is a song on the Heroes album by the beyond brilliant David Bowie. “Love Is Lost (Hello Steve Reich Mix by James Murphy for the DFA)” will appear on “The Next Day Extra,” the deluxe reissue of Bowie’s album “The Next Day” which will include “a 10-track companion album with five unheard songs and two remixes, and a DVD featuring four videos from ‘The Next Day.'” It is due in stores and online on Nov. Now when is Regine going to sing on a Murphy song, with Bowie directing and acting in the video, hrm? Murphy signed on to produce much of the Montreal band’s new album. ![]() Murphy and Bowie spent some time in the lab together as they both worked on Arcade Fire’s “Reflektor,” at least knowing Bowie’s affinity for the band, he may show up on more than just one song on the double-album. Bowie’s lamentations reside in caverns of reverb next to rhythmic sythesizers, the clapping ultimately dying out after a dramatic chorus and then 5 more minutes of music. The result of the “ Hello Steve Reich Mix by James Murphy For The DFA” is something spirited and menacing, with a wry smile as you put your hands together. The former LCD Soundsystem frontman tips his hat to composer Steve Reich and his “Clapping Music” in this dark dance redux. ![]() Chopping and screwing a track of applause is nothing new - and James Murphy re-titles his remix to David Bowie’s “Lost Is Lost” as such.
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