night sequence, an element of something bigger than we can know, what happened before or after this sequence? times arrow meets memory, all part of some cinematic or theatrical event, where the actors are unmasked, where the drama steps off the screen or stage, and the boundaries are dissolved, where the film stops being a film and the participants are the audience, the listener and the actors are the film, it's easy to get lost on these journeys but what a joy it is when you find yourself completely lost, nothing compares to the magic square of the church, perhaps in art esher but then there's that abstract stuff happening as well. cross all art forms the band takes us into their vortex with this story.
and there you are, but wait, 'the pool turns out to be blue cellophane' what else is fake on this set, and then the director speaks,'the camera moves in, we detach from our unit, actors uncertain' there's make up girls hanging around and then we hear, 'the actor is playing you.' and then something interrupts the action, and even steve is asking, 'is this part of the story, the audience may choose if they want a happy ending, do they want more yachts.'
again a self conscious song, a song that describes a film sequence and then describes the production details of said film, but which bits are the film and what parts are the production, everything seems to become part of everything else. then we discover that the set was a projection and we are in a cab with the main actor and steve sings, 'i am confused, who is who?'
so it appears steve is actually with us, confused by events, no longer the director, what's that?
the song is no longer self conscious, it's suddenly the opposite of self conscious because there's no longer that detachment. suddenly this actor who is playing you begins to mimic you, is it still part of a film, i thought we were off the set now, outside your house the actress who plays your wife appears, she hands the actor a phone. even the narrator (steve) appears confused as to who is playing whom. it turns out the phone is just a prop but steve (the narrator) surprises us out from the blue by saying, 'why give kilbey my number?'
the acid kicks in, everything dissolving and blurring, the conversation becomes a rubric cube of identity, we are in that esher drawing, the one where you don't know which way is up or down, when the actress says, 'i feel like i'm in one of his songs.'
the taxi pulls up outside a place they seem to be making the film we started the song with, and the last line, 'you leave the premises.'
did he leave us there or did we leave?
well if you like your songs with a narrative edge i don't think they get better than night sequence, it's a space rock epic musically and lyrically it's a raymond chandler phillip k dick type trip with a bergman type sequence in the visual mix there. it's one of those songs that would make a great soundtrack, for the very sequence it describes.
that's very strange, maybe that's why i love it.