Black Gate (Vicious Tales Book 3)

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Subscribe to Independent Premium. View offers. Download the new Indpendent Premium app Sharing the full story, not just the headlines Download now. Shape Created with Sketch. The 40 greatest song lyrics Show all Yet their slower songs have become unjustly obscured as the decades have rolled by. All Apologies — a mea culpa howled from the precipice — was directed to his wife, Courtney Love, and their baby daughter, Frances Bean.


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Six months later, Cobain would take his own life. No other composition more movingly articulates the despair that was set to devour him whole and the chest bursting love he felt for his family. Its circumstances are tragic yet its message — that loves lingers after we have gone — is uplifting. His marriage was falling apart when he wrote the lyrics and he would take his own life shortly afterwards. Many artists have tried to speak to the asphyxiating conformity of life amid the manicured lawns and two-cars-in-the-drive purgatory of life in the sticks.

The lyrics reclaim the power in her identity as a black woman from the deep south and have her bragging about her wealth and refusing to forget her roots. In a society that still judges women for boasting about their success, Beyonce owns it, and makes a point of asserting her power, including over men. Coming out of his experiences as a too-cool-for school DJ in New York, the song functions perfectly well as a satire of Nathan Barley-type trendies. As the lyrics attest, they ultimately passed like ships in a long, sad night. She died three months before Cohen, in July Shortly beforehand he wrote to her his final farewell — a coda to the ballad that had come to define her in the wider world.

Goodbye old friend. Endless love, see you down the road. Has a break-up dirge ever stung so bitterly as when the Libertines duo counted the ways in which each had betrayed the other?

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Yet they are delivered with a straight-from-the-pulpit ferocity from Cave as he lays out his feelings for a significant other opinions are divided whether it is directed to the mother of his eldest son Luke, Viviane Carneiro, or to PJ Harvey, with whom he was briefly involved. Amid the choirs and the primordial guitars, what gives the nine-minute belter its real power are the lyrics — which may or may not allude to the not-at-all amicable departure from the Sisters of Wayne Hussey and Craig Adams. But surely there has never been a more perfect collection of couplets than that contained in their opus.

But the trademark Moz sardonic wit is elsewhere eclipsed by a blinding light of spiritual torment, resulting in a song that functions both as cosmic joke and howl into the abyss. Thus the portents of the song do not require deep scrutiny, as lust and yearning are blended into one of the most combustible cocktails in mainstream rock. Father Lucifer was further inspired by visions she had received whilst taking peyote with a South American shaman.

The result was a feverish delving into familial angst, framed by a prism of nightmarish hallucination. He was never more searing than on this early confessional — a rumination on his poverty-wracked childhood and the addictions that ripped like wildfire through his extended family in Compton and Chicago. He crashed back to earth with his masterpiece — and its title track, a stunning meditation on gang violence, Aids, political instability and natural disaster. But the Satanic majesty also flows from the lyrics — which spoke to the pandemonium of the era and the sense that civilisation could come crashing in at any moment.

The gordian mystery of Bewlay Brothers? The meta horror movie of Ashes to Ashes? The uncanny last will and testament that was the entirety of Blackstar — a ticking clock of a record that shape-shifted into something else entirely when Bowie passed away three days after its release? Blur waxing clever, winking at Martin Amis etc, could never hold a candle to Oasis being gleefully boneheaded. Underworld never wanted to be stars and actively campaigned against the release of their contribution to the Trainspotting score as a single.

But it was also a break-up record mourning the end of his marriage of 11 months to Carrie Fisher. The pain of the separation is laid out nakedly on the title track, where he unflinchingly chronicles the dissolution of the relationship. Are We There. Before that, there is poetry. She snarls and shrieks as though her vocal chords might rip. The ostentatiousness of the lyrics owes as much to poets Arthur Rimbaud and Baudelaire as it does to Jim Morrison. By the tail-end of the decade the Eagles were thoroughly fed up of one another and jaundiced by fame.

St Vincent — aka Texas songwriter Annie Clark — was singing about how social media fed our narcissism and gave us a fake sense of our place in the world.

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He sings — with a gently swaying, almost resigned delivery — surrealist lyrics that likens a past relationship to a brief high, from the perspective of the comedown that follows. All across Maersk headquarters, the full scale of the crisis was starting to become clear. Tech workers ran into conference rooms and unplugged machines in the middle of meetings. Soon staffers were hurdling over locked key-card gates, which had been paralyzed by the still-mysterious malware , to spread the warning to other sections of the building.

By the end of that process, every employee had been ordered to turn off their computer and leave it at their desk. The digital phones at every cubicle, too, had been rendered useless in the emergency network shutdown.