Dark, alluring, smart art post-punk with angular guitar, a thrumming bass line and semi-spoken vocals by the band from Leeds inspired by the idea of syncing to social norms, social deflection without being fully present. It might include conversation and expressions and taking on a converged guise to fit different interactions, and the song was inspired by Bruce Nauman's piece ‘Lip Sync’, 1969, in which the artist disarmingly turns a video camera is turned upside down and films in a tight close–up as he speaks the words of the title, which creates an oddball sense of timing. A clip of this is also shown below.
To explore more by Drahla, see also the other embedded links below. Out on Captured Tracks.
Lip sync to mimic
There’s something in it - just when you start to sync into it
Lip sync to mimic
There’s nothing to it - just when you start to sync
Lipsync
Lipsync
The core is off kilter I’m sure
When you feel too detached for your own words
The core is off kilter I’m sure
When you feel too detached for your own
Is there an angle in which I can align?
What is the best fit?
Now, where is the exit with this?
Lipsync
Lipsync
Is there an angle in which I can align?
Is there some sentiment in which I should resign?
World sits still
I’m still
It crumbles still
Spits on its axis
It hits and I’m there
Hate you to fear you
It’s none such luck
Suggest, the slip of your axis
To care it’s not there
World sits still
I’m still
It crumbles still
Spits on its axis
It hits and I’m there
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