Yield

i think the car crash thing is one of those coincidences in terms of the individuals writing it while at the same time...again, still being in the same headspace. and even though i don't think they're meant to be thought of literally, i don't think it's a concidence that they follow one another on the album.

i will take this opportunity to say that if i had a chance to witness any innerworkings of this band, i would want to see the process of creating the track list. more than writing, more than rehearsals, more than anything else really.

BrainOfJD wrote:

I concur. Especially in light of the fact that YIELD and Ten are the only times they got this process right.

whoa. ten also? why?

what about no code doesn't sit right with you?

i will say that vitalogy barely qualifies as an album.

RockKing wrote:

Yeah, again, it goes back to the point about none of this being intentional. But to me, that's part of what makes YIELD so special. It would cheapen the effect a bit for me had it been intentional. YIELD has all the impact of a concept album without any of the pretense. I love that.

And back to the point, I suppose that fact makes it hard for it to be any kind of literal connection or interpretation. I am back to solidly being on the side of the figuritive metaphor. I think you and I have pretty similar interpretations of this song. The sudden turn of events, and looking back on things....that's pretty much what I was trying to say.

right on- they created this unifying thing without trying. who knows whether MFC and the car crash in lowlight are related? they certainly seem like they could be- and the "escape" then "crash" or introspection after the escape can be easily related. how much of this do you think they have thought of and is our interpretation? Regardless, thats what makes the album so magical- it is SO philosophical and open to meaning-making.

About Jeff writing lowlight and adding the car crash thing- from one perspective, cars are a common theme in american songwriting, its part of our collective unconcious. But, like others have said, what if the band was just in the same "space" emotionally and mentally, and themes emerged organically without trying? Like a one organism kind of thing....hmmm

BlkFlg wrote:

About Jeff writing lowlight and adding the car crash thing- from one perspective, cars are a common theme in american songwriting, its part of our collective unconcious. But, like others have said, what if the band was just in the same "space" emotionally and mentally, and themes emerged organically without trying? Like a one organism kind of thing....hmmm

Yeah, I think after the NeilJam and the Mirrorball and No Code things, and Jack coming in, "they were finally a band again."

likepilateihaveadog wrote:

The escape car in MFC and the 'car crash' line in Low Light...did we ever think about this? Maybe in MFC someone is getting the hell out, but doesn't make it.

Ah, the return of the car symbolism.

You are enhancing this theory with your discussion. Please, continue.

rhinomagic wrote:

References to automobiles are also abundant, most notably in MFC, Do the Evolution, Wishlist, and Low Light. Motion is obviously important to the concept of yielding--without an established motion, one cannot possibly yield (in any sense of the word). It would appear that cars are means to escape, dominance, and freedom in these songs. The 'car crash' in Low Light is particularly interesting to this line of thought. If the protagonist is carrying a romantic notion of the full moon on the Camaro's hood, dominance in flattening out the rolling hills with his truck, or attempting to escape the inescapable, the car crashing brings a startling realization that the technology of man is not a means to harmony with nature/the universe.

.

likepilateihaveadog wrote:

Red dot is waiting at the stop light.

Fucking brilliant!

RockKing wrote:

Fucking brilliant!

right fucking on willy!

RockKing wrote:

To me, I think the most important thing you mentioned is the idea of motion. Automobiles are by far the best/easiest to use imagery to represent the idea of motion. It carries our main charatcer from the beginning of the album to the end. Obviously the idealogy of YIELD that we hold so dear couldn't work without this idea of motion being involved. What I mean by that is you can't get from "point A" to "point b" without both some kind of motion and some method of creating that motion.

just when i think you can't get any better.

i have nothing to add to this.

jeeezus.

likepilateihaveadog wrote:

Anything else to talk about?

Clouds roll by
Reeling is what they say
Or is it just my way?
Wind blows by,
Low light
Sidetracked, low light
Can't see my tracks,
Your scent-way back

I see this verse as discussing the end part of the running away. A lot of allusion to motion again here (the clouds rolling by, wind blowing, leaving behind tracks and a scent)...These all leave me with a feeling of escape or running away. The clincher here for me is the word 'reeling'. The main character is reeling from something in his/her life. This fits PERFECTLY with our interpretation of escape.

likepilateihaveadog wrote:

Can I be here all alone?
Clear a path to my home
Blood runs dry
Books and jealousy tell me wrong
All I feel, calm
Voice rolls by,
Low light
Car crash, low light
Can't wear my mask,
Your first, my last

This is pure isolation and regret. Not as much motion in this verse, leading me to believe the escape is over with and now the main character is reflecting on where the escape has left him/her. Isolation (can I be here all alone), no family (blood runs dry), and confusion (books and jealousy tell me wrong).

likepilateihaveadog wrote:

Voice goes by
Two birds is what they'll see
Getting lost upon their way
Wind rolls by,
Low light
Eye sight, low light
I need the light
I'll find my way from wrong, what's real?
Your dream I see

Initially, this verse again refers to the problem with escapism (two birds is what they'll see, getting lost upon their way). Then we have more motion with the wind, which I think is showing a desire to go back and overcome whatever is holding us down rather than run away from it. (I need the light, I'll find my way from wrong). But it ends on such a down note. Is it too late for us? Can we really go back? What's real? The line 'your dream I see'....is he saying that this ideal reality only exists in dreams, or that with this new plan of YIELDing and overcoming we can now see this dream becoming a reality? That's the only part I struggle with.

distantsun wrote:

would it be totally offbase to think that *maybe* this is being spoken by someone who is not yet fully realized to someone who is? who is on the other side? (wow.) someone who is in the process to someone who has made it out?

That would certainly explain that last line. Which is fascinating because this whole time I've thought of the main character (ourselves) as the only protagonist. I've seen the album as self vs everyone else. This would introduce a new protagonist. Fascinating thought to ponder.