I Wanna be Just Like You – The Tales of The Geek Underclass Soundtrack Part 1

by Purple Wyrm on April 19, 2018

Back in the day when I was writing the Tales of the Geek Underclass I had the idea of putting together a soundtrack of songs that featured in the stories or evoked (for me at least) that particular period in history. I never did, mostly because I got a job, which cut down on the time I had to spend on writing, and I went on antidepressants which – although making me feel much better generally – affected my ability to write anything at all. The Tales stalled and getting perilously close to twenty years later I’m not sure if I could pick them up again. A lot of memories have faded, and not only am I no longer the kid who went through it all, I’m no longer the young adult who wrote what exists of them.

I’ll never say never, but the prospects of a Geek Underclass revival are – at this point – fairly dim.

The soundtrack project however is something that’s been hovering in the back of my head for close on two decades, and now that the data sucking behemoth that is Google hosts just about every song ever recorded by mankind on YouTube it’s a lot easier to accomplish than having to locate the tracks on Napster, spend a week downloading them across dial up, burn them to CDs, design and print covers and then distribute the finished items to people who probably don’t really understand what the whole project is about in the first place.

So, let’s get on with it…

(Yes, I could make a YouTube playlist but I am averse to willingly providing Google with even more info than they have already no doubt amassed on me. If they want this data they’re going to have to scrape it damnit!)

1: The King of Wishful Thinking – Go West – 1992

As a lovelorn teen I was very keen on the name of this song and adopted it as a personal title in relation to my long running crush on the girl I’ve glossed in the Tales as Lauren Alighieri. This was in spite of the fact that the song – as was repeatedly and vociferously pointed out to me by Ryan – was clearly about a guy unable to get over a breakup and there was no way I could “miss the way that [Lauren] used to kiss me” because we’d never even so much as held hands.

2: I’m Gonna Be (500 Miles) – The Proclaimers – 1988

This was played on the bus to year 8 camp resulting in the entire year singing along with the “da da da da” bit – probably to the intense annoyance of the driver.

3: Enter Sandman – Metallica – 1991

No Tales soundtrack would be complete without something from Metallica, the favourite band of Satanic Shaun Bettar. He much preferred this to the other major cut from the Metallica album – Nothing Else Matters – which he described as a “soppy fucking love song”.

4: Just Like You – Robbie Neville – 1991

I clearly remember Ryan declaring this to be his favourite song ever. He equally clearly remembers hating it with the heat of a thousands suns. It’s funny how memory can mislead us.

5: Get Ready for This – 2 Unlimited – 1991

The early 90’s were when electronic dance music crossed into the mainstream. Most of it was appalling, and this major hit from the Netherlands was no exception. We hated it. It became for us a symbol of everything that was wrong with popular music. Its ubiquity throughout ’91 and ’92 and our burning hatred for it means that it cannot in honestly – despite its dreadful mediocrity – be excluded from any musical summing up of the Tales.

(Two additional notes: In a moment of random computer class insanity I re-coded the into music for a game where two giant gorillas threw explosive bananas at each other to the song’s synth riff, and I’ve never been able to shake the mental image that occurred to me when I first learned that 2 Unlimited were Dutch – that of two skinny old men in suspenders and flat caps with scraggly beards hanging down to their belts strutting up and down and performing dance moves on top of a canal boat.)

6: Winds of Change – The Scorpions – 1991

It’s probably difficult for anyone who grew up after the whole thing was over to appreciate just how momentous the end of the Cold War was. We’d all grown up with the fear of nuclear annihilation hovering over us, the world could end at any moment with only a few minutes warning and there was little to nothing we could do about it. Then, suddenly, in the space of a few short years it was all done. The Wall was down, the Russians were our friends and it was time to party! Paging David Hasselhoff!

Looking back from our post-9/11, Putin-on-the-warpath world the carefree days of the 90’s seem like another planet. But such has always been the way of the world.

The Scorpions’ anthem also makes it onto the album for another reason. I don’t know how the secondary school system runs nowdays, but back when the Geek Underclass were being forced through it the final two years – Year 11 and Year 12 – were optional. You generally only did them if you intended to go on to university. If you had an apprenticeship or job lined up (or if you just didn’t give a monkey’s) you could finish school at the end of year 10 and never come back. And if you stayed on, things got dead serious with only two years to prepare for the dreaded Tertiary Entrance Exam.

So for me at least, the end of 1991 was much more of an end of high school than my actual graduation at the end of Year 12 in 1993 was. It was the last time our class was complete, with a swathe of friends, enemies and bit players vanishing from the school stage. Our carefree childhoods ended and we became professional students, knuckling down and packing our brains for the TEE. Winds of Change felt like a commemoration of that transition, a graduation song a full two years early. I still remember sitting in a pew at the chapel down at Saint Brigit’s with it playing, although I can’t quite remember why we were there rather than at the school’s chapel/gym – maybe there was a volleyball game or something that day?

7: Friday I’m in Love – The Cure – 1992

There were two reasons we hated the Cure.

First of all they were Goths. Or at least they were listened to by Goths, which in our addled teenage minds pretty much added up to the same thing. Goths – strange, dark, and pale inhabitants of the GPO steps in Forrest Place – were the subject of much disdain, both in our day to day conversation and on Radio RTR’s letter request program Steregoround. We mocked them mercilessly, I even made up a Goth joke!

Q: How do you know when there’s a Goth in your freezer?

A: Face prints in the vanilla ice-cream.

I can’t think of a single reason why we despised Goths so. Possibly as close to the lowest members of the social heirarchy  we just needed some group to look down on, and Goths were a convenient target. Particularly so in that there were no Goths (obvious ones at least) at the school, and hence we had no fear of reprisals.

The second reason we despised the Cure is that they were the favourite band of one of our enemies, a girl I shall call Carisse Halter. While most of the school’s female population saw fit to simply ignore us, there was a small contingent who went out of their way to harass and belittle us, and Carisse was one of their leading lights. We would exchange insults and invective on a regular basis, and one of the most effective ways to rattle her was to mock her beloved Robert Smith. In particular I used to do a Robert Smith impression consisting of spreading out my hands, affecting a look of weepy confusion and making what are probably best described as high pitched wookiee sounds towards the sky.

Friday I’m in Love being the Cure’s biggest hit made it – in our minds – the most Gothic song ever written, and we were scathing in our disdain of it!

The irony was I actually thought it was a fantastic song and just pretended to hate it. And as the years went by and I shed the more gregarious idiocies of my adolescence I came to realise that the Cure are an amazing band with dozens of other fantastic songs. Sorry Carisse! Sorry Robert!

(I also developed a bit of a thing for Goth chicks, but that’s neither here nor there…)

8: Mistadobalina – Del tha Funky Homosapien – 1991

This was probably the first piece of hip hop our white arses ever heard. It was so catchy that we even rewrote a version about Sarge, the Chemistry teacher (for the record it wasn’t very good…).

9: The Globe – Big Audio Dynamite – 1991

We were huge fans of both The Globe and Rush by Big Audio Dynamite, so one of the two would have to feature on the soundtrack. I was particularly proud of having memorised the lyrics behind the chorus (Tryin’ to – get out this rain…).

10: Runaway Train – Soul Asylum – 1993

As a moody teen there are times when you simply have to wallow in self pity about how awful your life is and how no one cares about your feelings. One of the best songs for this during our school years – in my opinion – was Soul Asylum’s mega hit. Even today it still stands up – particularly when you realise it’s not about how your parents just don’t understand you, but about depression.

11: Heart in Danger – Southern Sons – 1990

Another song I enjoyed sulking to, Heart in Danger has not stood up anywhere near as well. The tune is still pretty rockin’ but the lyrics read like every moody teenager diary entry ever penned – which is presumably why it appealed to me so much at the time. Now it’s just pure cringe, and as such must be included in the soundtrack to remind us all of what free-wheeling, artless fools we once were!

So that’s it for today. Tune in soon for more 90’s goodness in the Tales of The Geek Underclass Soundtrack Part 2!

‘Haven a Good Time

by Purple Wyrm on April 16, 2018

I have been a bit busy of late.

My good friend Fabian has started up a Gloomhaven campaign in which I’m currently playing the Tinkerer. Naturally as a devoted Thrilling Intent fan I had no choice but to name him ‘Kier Fiore’ and have had barrels of fun restyling his actions into Kiresque things such as hurling around icy cold cans of Keer Energy Drink and explosive hairbrushes. I’ve also managed to get everyone around the table referring to his “harmless contraption” as “Mecha Kier” – there is little in life more enjoyable than having a bunch of people who have never watched a single episode of TI routinely saying stuff like “Can you summon Mecha Kier?”

(Of course I’m totally tipping my hand here, but if they don’t like it I’ll just launch an explosive pseudopony at them.)

We’re playing every second weekend which I’m finding a bit grueling at times, but it’s a hell of a lot of fun.

I’ve also been dipping my toe into the world of electronic music. Not actually making any of course, just ruining that already made by other, far more talented people. Scandroid to be specific.

A while back Klayton released a synthwave cover of the Michael Jackson classic Thriller which you can enjoy here…

Much like being turned into a whale by a wizard, this is awesome. But to my mind it could be even more awesome with one slight tweak. I mean, what could be better than Klayton plus MJ? What about Klayton plus MJ plus Vincent Price!

So, I got to work and with a few hours of messing around with audio editors that I barely understand I came up with this…

There you go! How’s that then?

The other inane thing I’ve done lately is spend many hours slogging through Google Image result pages to come up with a rather stupid thing inspired by this rather stupid thing that turned up on Reddit…

Simpsons Space Marine Legions

While that’s undoubtedly clever I though it a tad unambitious, so threw this thing together…

Simpsons 40k

Behold its majesty!

If you’re into Warhammer 40k its merits should be obvious. Otherwise please let me reassure you that it’s full of all kinds of clever puns and references that would have you rolling on the floor chortling with tears rolling down your cheeks if you only knew!

So yes, that’s your lot for the week (and if we’re honest probably the month…)

Meanwhile on Necromunda

by Purple Wyrm on March 5, 2018

Ah Necromunda! Hive world of hive worlds! Star of the Araneus Continuity! The planet so trashed that they’re refining the waste left over from the last time they refined the waste just to keep things going! How we love thee!

What the hell am I on about you ask? Predictably it’s Warhammer 40,000 again and in particular the relaunch of Games Workshop’s skirmish combat game Necromunda, set in the collapsing, polluted, gang-ridden underbelly of the planet’s largest hive city.

“But” you say “Necromunda was relaunched months ago! Why are you only babbling about it now?”. Good question. Well, maybe not such a good question because the Wyrmlog has been in a state of deep torpor for months. But still, what is my point? Have I bought the game and am engaged in an engrossing campaign with my friends?

Ha! Of course not! Do I look like I’ve sold a kidney?

(Really? Wow, I should probably eat some vegetables or something hey?)

Anyway, no I have not bought a copy because I plan on eating for the next few months. I have however been keeping an eye on the whole thing because I am a nerd and that’s what nerds do.

And in keeping an eye on the whole thing I stumbled across a series of photographs taken at the Horus Heresy/Necromunda Weekender event GW threw a month or so back. Among them was this…

…which really got my sci-fi-nerd and map-nerd juices really running. A map of the entire planet!!!

Except… It’s really not…

As a piece of art it’s undoubtedly great. As a map it fails badly.

It’s clearly mimicking the look of an antique Nicolosi Globular projection map…


…but the artist seems to have not understood how a globular projection works and just drawn the details as if it’s some kind of rectangular projection with bits chopped off to fit in the frame. This is particularly noticeable in that the east and west edges of the map don’t match up – water bodies just vanish off one side and don’t show up on the other! HERESY! CARTOGRAPHIC HERESY!

Faced with this insult to generations of map makers I had no choice. I had to redraw the entire thing properly.

I started by assuming that the original map is a equirectangular projection – not unreasonable I think given that that’s how most people think maps work. I expanded it on both sides to make room for a strip of land linking the east and west edges, and added space to the top and bottom to account for the poles. I then filled these spaces in with plausible detail (ie: made a bunch of stuff up).

With that completed I ran the result through NASA’s G.Projector tool to render it into a proper global projection. A bit of cleanup and labeling later, I ended up with this. Behold its Majesty!


The Worldsump Ocean may be much larger than I show it and I had to squint to try and read some of the labels in the southwest section of the original, but overall I’m pretty happy with it.

The lesson to be drawn from all this? Never underestimate the lengths an Aspie will go to to correct problems in properties they care about! ;D

River of Love

by Purple Wyrm on February 25, 2018

Well, it has been far, far too long since I blogged anything. A combination of work stress, depression, and having Twitter at hand to instantly micro-blog my crude thoughts out to an uncaring world rather than having to put time and effort into polishing them into something worthy of more than 280 characters.

Then of course there’s the fact that I am a barely functional excuse for a human being, riddled with guilt and anxiety to the extent that if there’s something I need to do, and I don’t get it done within a certain time limit even the thought of the thing will fill me with such overwhelming guilt that I find myself unable to even approach doing it without a massive and extremely unpleasant effort of will (which is why I generally don’t get my tax done until February…).

In any case, this post ends the hoodoo. I have blogged, and so the thought of more blogging will not fill me with gloom and despair (at least not more so that normal).

By way of apology please enjoy this hot cut of Varga, which demonstrates beyond a doubt that Love Train is indeed the pinnacle of his musical talents…

Scandroid: The (horribly inaccurate) Synthwave Stage Musical!

by Purple Wyrm on November 14, 2017

Those who keep up with my increasingly intermittent blog and interminable Tweets should be at least be peripherally aware of the existence of Scandroid the reto-synthwave, sci-fi music project by Klayton – and my ongoing mild obsession with the same.

Those who have followed along for a while may also be aware of the fact that sometimes my brain will latch onto an idea and uncontrollably run with it, despite the fact that said idea may be a terrible one that I want nothing to do with. These dreadful ideas hijack my brain like some kind of demon and will only depart once I write them down and foist them on the unsuspecting world (a process I sometimes refer to as ‘busfuckery’).

The more astute may have already seen the connection here (as if the title of this post isn’t enough of a give away), late last week my brain decided to go on a wild excursion into insanity and rework Kleyton’s music into something I am completely unqualified to have anything to do with – a stage musical!

Now, before you decide I’ve gone completely bonkers it should be pointed out that there is actually a story behind the Scandroid project. You can pick up large chunks of it by just listening to the songs, and there’s more info to be found out there on the net. I hadn’t gone terribly deeply into this additional info, although I had stumbled over a couple of brief summaries. It was these summaries that combined with the music to ferment in the depths of my brain and boil over late on Friday night when I was trying to get to sleep.

As I lay there in bed my brain started spewing out a scene by scene rundown of a stage production telling the story of Scandroid. How to link the songs into a coherent story of Red and Aphelion and the rise of electronic consciousness. I just wanted to sleep, but whatever diseased part of my brain it is that does this stuff wouldn’t let me rest until I’d got up, grabbed a pen and paper and scribbled it all down lest I forget even the slightest detail overnight.

So, I woke on Saturday morning and decided to do some more poking around to see what else I could uncover on the Scandroid story. Oh boy… It turns out that there’s a lot of info out there. The story behind Scandroid is pretty well defined and ties into a bunch of Kleyton’s other projects. And large, hugely important chunks of it are completely incompatible with the story my brain had assembled, turning the entire creation into nothing more than a ridiculous, continuity-violating piece of fanfiction.

Faced with this revelation I made the sensible decision to abandon the whole thing and conceal my strange hubris from the world.

However, the part of my brain that tortures me with this kind of thing would not let the project die. It has incessantly badgered me over the last few days to write the whole thing up and present it to the world. I don’t know why it insists on this (there’s probably something horribly wrong with my ego), but the only way I’m going to find any peace is to grit my teeth and just do it, no matter how pretentious and misguided the whole thing is.

So here – for what it’s worth – is the sketch for Scandroid: The (horribly inaccurate) Synthwave Stage Musical.

(I am so very sorry – to Klayton in particular and everyone else in general…)



The Narrator – A Sentient Android
Red – A Scavenger and Musician
Raven – A Scavenger and Musician
ATOM 7K – A Robot
E.E.V – A Robot
Aphelion – A Hacker
The Clone – An evildoer
Various Hackers, Agents, Robots, Clones and Street Scum

== ACT 1 ==

The NARRATOR introduces the world of 2517 [2517]. The floating, golden city of Neo-Tokyo hovers over the crowded slums of Old Tokyo, inhabited by human and robot alike.

RED laments his life in the slums [Neo-Tokyo]. He is interrupted by RAVEN who tells him their set is about to begin.

RED and RAVEN perform at a nightclub along with two obsolete robots (ATOM and E.E.V) slaved to their instruments. RED sings about his search for a way out [Salvation Code]. Their set ends. ATOM and E.E.V shut down, and RAVEN teases RED about the imaginary girl from the song.

RED and RAVEN pack away their equipment and head out scavenging. They sneak into EDEN, a derelict section of the city locked down by patrols from Neo-Tokyo [Empty Streets]. In the ruins they stumble over an advanced combat robot that has fallen from Neo-Tokyo – the Scandroid.

RED and RAVEN carry the Scandroid out of EDEN and decide to break it up for parts which RAVEN can sell through his underworld contacts. They agree to keep the head to incorporate into their act. RED sees the money they’ll make as his ticket out of the slums [Neo-Tokyo – Reprise].

In Neo-Tokyo THE CLONE addresses his Agents [a song of some kind will be required here]. The Scandroid has escaped and must be recaptured at any cost. He dispatches his clones to scour Old Tokyo and assigns teams of hackers to search the Data Stream for signs of the robot. Among them is APHELION.

In Old Tokyo RED has finished connecting the Scandroid head to the instruments in his workshop. He starts composing a new song [Singularity]. He is interrupted by APHELION speaking through the head. She has successfully located it, but is enchanted by RED’s music. The two converse with APHELION warning RED of the danger he is in by harbouring the head. Their conversation is interrupted by a call from RAVEN, saying he’s in trouble and needs RED’s help. RED rushes out.

In the darkened workshop the Scandroid head comes to life. It plays RED’s song, building on it and completing it [Singularity – Reprise]. ATOM activates and is awakened to consciousness. He sings to E.E.V, awakening her [Awakening With You]. The two robots disconnect from the instruments and head into the streets of Old Tokyo, awakening other robots [Singularity – Second Reprise].

RED locates RAVEN who has been found by the CLONES. RED and RAVEN fight them, but RAVEN is captured and shouts for RED to flee [Destination Unknown]. RED returns to the workshop, hurriedly grabs some items and goes to flee. At the last second he grabs the Scandroid head.


The NARRATOR explains the consequences of ATOM and E.E.V’s awakening [Pro-bots & Robophobes]. Robots have achieved consciousness all over the city, and the humans have divided into two violently warring camps. In the ensuing chaos ATOM and E.E.V have led the sentient robots to EDEN and declared it a robotic sanctuary forbidden to humans…

…and that’s as far as I got. I’d scribbled down a vague outline for the rest of the show with plans to expand it further, but on realising just how abominably off-target this version of the story was I abandoned it.

In brief RED would remain on the run [Empty Streets – Reprise], talking to APHELION through the head while she runs interference preventing THE CLONE from finding him. Naturally they fall in love, although RED despairs that they’ll ever meet [Aphelion]. RAVEN re-appears, having been brainwashed to work for THE CLONE. RED urges APHELION to leave Neo-Tokyo and join him [Connection]. APHELION discovers that the Scandroid was programed with a prototype self-aware AI, which combined with RED’s music (and a whole bunch of handwaving yada yada yada) led to the awakening of the robots. She escapes Neo-Tokyo and meets up with RED [Rendezvous] and/or [Datastream]. The robots continue to construct their Eden [Future Bloodline]. Eventually APHELION and RED discover that they can upload their consciousnesses into the virtual world being constructed by the robots in Eden [The Veil]. They are almost stopped by THE CLONE, but RAVEN sacrifices himself to buy them just enough time. THE CLONE is left with their dead bodies, and RED and APHELION live happily ever after in the electronic paradise of Eden. Oh, and THE NARRATOR is revealed to be RED, reincarnated into an android body and telling the story centuries later. The end, tada.

So there it is, the abomination in full. I apologise once again for foisting it on the world. If you’d like to learn about the real story of Scandroid the Scandroid Origins short story is a great place to start. Or simply listen to the music and try to forget my shoddy corruption of Klayton’s datastream.

A Machine for Living In

by Purple Wyrm on September 17, 2017

So, I was thinking the other day about what kind of house I’d like t0 live in.

I live in an apartment. And I get by OK in an apartment, but I must admit it would be nice to have a bit more space in which to store all my crap, and in which to entertain guests from time to time. I mean I could get rid of all my crap, but my possessions are the only things keeping me safe from the howling existential bleakness of reality, so they’re not going anywhere.

(Hoarder? I hardly knew ‘er!).

So a house would be nice. But what features would a distinctly bizarre peculiar unique person such as myself require in a house? I had a good think and came up with a list. And then I started playing around with how to fit the various features of the list together. And then I thought about how to fit the resulting vague, house shaped blob onto a block of land. And then I thought about how to adapt the blob to different block shapes and sizes. And that’s where I had my idea!

Object Oriented House Design!

What if one was to describe a house not in terms of walls and doors and square footage, but as a hierarchy of interlinked objects with various properties? You could define an entire dwelling in terms of what each room needs to do, and how it relates to the rest of the rooms without even sketching out a floor plan. You could then hand the definition off to an architect who could use their specialised knowledge to translate it into an actual house plan to fit onto an actual, specific block. Brilliant!

So I decided to try and define my dream house in just this fashion…

* Any room may connect to any other room. Only required Access is listed in definition
* LargeAccess is defined as being easily able to move a couch, bed, or upright piano between rooms with a minimum of swearing.

Street, Garage
Requirements: Space for two cars to be parked.

LargeAccess: Storeroom OR Workshop
Requirements: Enough space to move comfortably around one car with all doors/hatches open.

LargeAccess: Workshop, (Library), (Garage)
Requirements: Large room with plenty of shelving.

Storeroom, Courtyard, (Library), (Garage)
Requirements: Large room with a water supply, multiple power outlets and plenty of natural light.

LargeAccess: Storeroom OR Workshop
Requirements: Large room with lots of built in bookshelves and room for a decent sized table and chairs and a few comfortable armchairs. Minimal natural light to avoid fading of precious manuscripts and gewgaws.

LargeAccess: Storeroom OR Workshop, MasterBedroom, LivingSpace
Requirements: Paved space open to sky. Receives direct sunlight in winter, filtered sunlight in summer. Retractable washing line. Provision for planters and pots. Private space protected from the nosy gaze of neighbours or random passers by.

Access: Study
Proximity: BathroomOne, ToiletOne
LargeAccess: Courtyard
Requirements: Decent sized bedroom with large, built in wardrobes.

Access: MasterBedroom, Library
Requirements: Room for shelving, a decent sized computer desk and various computer accessories.

MasterBedroom, ToiletOne
Requirements: Reasonably sized bathroom with sink and shower.

MasterBedroom, BathroomOne
Requirements: Toilet room with own sink.

Access: Courtyard
Requirements: Laundry room with washer, dryer and room for storage.

Access: Driveway, Kitchen, Dining
LargeAccess: Courtyard
Requirements: Large, open plan living space connecting via open plan with Kitchen and Dining. Curtains and ceiling mounted projector provides ability to use as home theatre. Front door separated from rest of room by solid divider so the Mormons can’t peer inside.

Access: Kitchen, LivingSpace
Requirements: Open plan dining area connecting via open plan with Kitchen and LivingSpace. Room for eight-seater table and chairs.

Access: Dining, LivingSpace
Requirements: Open plan kitchen with all mod cons (except for obviously stupid ones like internet connected fridges or DRM plagued fruit juice bag squeezers) connecting via open plan with Dining  and LivingSpace.

Requirements: Hot water heater, batteries for the solar system and other such gubbins.

Proximity: BathroomTwo, ToiletTwo
Requirements: Decent sized bedroom with built in wardrobes.

Proximity: BathroomTwo, ToiletTwo
Requirements: Decent sized bedroom with built in wardrobes.

GuestRoomOne, GuestRoomTwo, ToiletTwo
Requirements: Larger bathroom with sink, bathtub and shower.

GuestRoomOne, GuestRoomTwo, BathroomTwo
Requirements: Toilet room with own sink.

Overall Notes:
* Entire house heavily insulated against both heat and sound.
* Roof festooned with as many solar panels as decency allows.
* Configurable LED lighting throughout.
* Use of passive technologies to control temperature and energy use.
* Rainwater tanks.

So there we go. Short of winning the lottery or coming up with a a really good way to blackmail some well-known public figure it’s unlikely I’ll ever have the resources to construct such a dwelling, but I think the exercise has value. Not least in establishing a new paradigm in architect/client/Kevin McCloud relations.

No Sleep ‘Till Nairobi

by Purple Wyrm on September 16, 2017

And yet another lyrics post, this time to the song No Sleep ‘Till Nairobi by the band S’ who seem to have gone out of their way to make their name impossible to either conjugate or Google. No matter, the song – from the far off days of 2006 – stands as perhaps the best invocation of the loneliness of the long distance traveler ever penned.

No Sleep ‘Till Nairobi


No sleep ’till Nairobi,
I’m sorry to leave,
But honey, you know me, and you know that I need,
To shake off this laugh track,
And wander alone,
But I’m always half back here at home,

Where we’re running frantic,
Trying to move,
Above the Atlantic, I got nothing to prove,
I’m solving this cocktail,
While you’re on the run,
And I’m watching this rock sail round the sun,

No sleep ’till Nairobi,
These weeks are too long,
But as the days go, we sing traveling songs,
To hum throughout Heathrow,
Yeah, it’s duty-free,
Are you using that seat?
No, I guess it’s just me,

Yeah, I guess it’s just me,

Oh, I guess it’s just me,

Out on the tarmac,
Boarding a plane,
Staring at stars that, I cannot name,
Everyone’s weary,
What time is it now?
Well ready, ’cause here we go somehow,

No sleep till Nairobi,
The credit card’s cashed,
Sick of this so we, slowly get smashed,
When we don’t feel well we’ll,
Say our goodbyes,
But I can call from my cell, ’till the battery dies,

We find ourselves, in cheap hotels, wondering why we cannot sleep,
We sit and stare, just outside where, strangers straggle through the streets,
And up this late, we compensate, with hot black coffee and CNN,
Until it’s clear, that though we’re here, it doesn’t mean we see an end,

To lonely drives, and drinks in dives, and anxious rides to who knows where,
(No sleep ’till Nairobi, I’m sorry to leave,  But honey, you know me, and you know that I need,)
Propeller planes, and Amtrak trains, and soaking rains in summer air,
(To shake off this laugh track, and wander alone, but I’m always half back here at home,)
And since that’s so, it’s time to go, so grab your clothes from off the floor,
(No sleep ’till Nairobi, I’m sorry to leave,  But honey, you know me, and you know that I need,)
I think we might, just chase this night, that’s passing right outside the door,
(To shake off this laugh track, and wander alone, but I’m always half back here at home,)

Where we’re running frantic,
I’m trying to move,
Above the Atlantic, I got nothing to prove,
I’m solving this cocktail,
While you’re on the run,
And I’m watching this rock sail round the sun,

Not Worth Hiding

by Purple Wyrm on August 25, 2017

Fadades notwithstanding, I haven’t done a lyric transcription in ages, so I thought I’d get back in the saddle by getting down the lyrics of Alex the Astronaut’s beautiful new track Not Worth Hiding. Definitely going to be in my Hottest 100 list this year for both its message, and for just being a really sweet song. So here we go…

Not Worth Hiding

Alex the Astronaut

I learnt to drive to school when I was sixteen,
And I was happy with my friends and we skipped class for time to breathe,
We learnt about the stars and the trees,
I cried when I found kissing boys wasn’t for me,

So I tried every trick in the book,
I tried talking to the pretty boys, and changed the way I looked,
But wearing dresses to impress just left me lonely and upset,
And the boys could tell when I looked at her I wasn’t interested in them,

It’s not worth hiding if you’ve got something to say,
And it’s not worth smiling if you’re feeling in pain,
And it’s not worth hiding if you think you might be gay,
Or different in another way, you’re perfect just the same,

I opened the paper and it left me in shame,
Said that these contagious gays aren’t safe and you should keep your kids away,
But I grew older and bolder, and my friends caught on slowly,
Nineteen and withdrew the weight from my shoulders,

We sang,
It’s not worth hiding if you’ve got something to say,
And it’s not worth smiling if you’re feeling in pain,
And it’s not worth hiding if you think you might be gay,
Or different in another way, you’re perfect just the same,

So tell me, anyone?
If you love them as a daughter, could you love them as a son?
We all smile at different faces, we all blush at different names,
But holding someone’s hand should never make you feel ashamed,

Your story might not be at all like mine,
I don’t mean to simplify, this should be in your own voice and your own time,
But the cages that they’ve made us, should soon just rust away,
And this song just won’t need singing, but for now I’ll let it play,

It’s not worth hiding if you’ve got something to say,
And it’s not worth dying for the people who will smile at your name,
And it’s not worth lying if you’re feeling in pain,
And it’s not worth hiding, ’cause happiness could be on your way,

Weights and Measures

by Purple Wyrm on August 20, 2017

Measuring the distances between Worlds in Probability has always been problematic. As beings limited to perceiving reality in only four dimensions, direct measurement of the fifth is simply not possible. Instead proxy methods have to be deployed, the most common of which defaults to the amount of energy required to either open Gates or move matter directly between Worlds.

The best established measurement is the Wyrymyan ghəι (anglicized as “weyr“). The exact genesis of the weyr is lost to history, although it is noted it is very close to the amount of artonic energy required to directly (ie: without the use of a Gate) transport one ixh* of matter between Wyrymya and the ancient Wyrm colony World of Hfren, leading many to assume ancient travel between these two Worlds as its ultimate origin.

(* One ixh is equal to one 1728th of the weight of a cylinder of Wyrymyan sea-water with a height and radius of 12 ghi – one ghi measuring 6.875 cm. Bizarrely this works out to just over 1kg – 1.069kg to be precise.)

The traditional measurement of Probability among the Zurvár is the kâd, which is the minimum distance traversable via Gate in ancient Zurvár society. One kâd is equal to 16.8 weyr, which provides some commentary on the relative sophistication of Probatial travel in the ancient Zurvár and Wyrm cultures. The kâd has become the standard measure of Probatial distance across local Probability, with the weyr generally reserved for scientific usage.

(The Metaphysical Society of 19th century London created their own measurement of Probatial distance, the “Palmerston”. One Palmerston equals 77.4 kâd (or 1300.32 weyr), and is the distance between Earth and Neanderthan, the first World discovered by the Society. The Palmerston was abandoned shortly after contact was established with the Wyrms.)

The record for minimum Probatial distance traversable currently stands at 0.43 kâd (7.224 weyr) which was achieved at the Werinos Physics Institute in 2007. This is well above the theoretical limit of 0.14 kâd predicted by Probatial Resonance Theory. It is believed by many that the Goatsuckers have been capable of reaching this limit for centuries – if not millennia – or possibly even exceeding it, although the later would raise uncomfortable questions about their motivation in providing so much assistance in the development of an inaccurate theory.

He Returns!

by Purple Wyrm on July 5, 2017

I was recently reminded of Alsace’s greatest contribution to black metal music, the amazing Fadades. He inhabits a castle! He builds lasers! He wears knives! No one can figure out whether he’s parodying the genre or is terrifyingly serious!

In perusing the Fadadian oeuvre I stumbled across a – I do hesitate to use the word ‘song’ but let’s go with it – a song I hadn’t heard before. So of course I jumped right in.

The piece in question sees our hero returning to the same rich vein of landing his spaceship in Egypt and being annoyed. This time around he’s considering the “nightmare” of Ramses rather than his “rage”, and he’s managed to convert his spaceship into 3 dimensions! Well done Fadades!

He also discovers a domed city –  Ramses was terrified of domes you know…

Anyway, as is traditional I’ve decided to attempt a transcription of what he’s on about. I think he’s trying to organise catering for a party and it’s not going well…

Ain’t jealous!
Just a word,
Not jealous!
Seat yourselves,

Suey the yeah yeah yeah I guess!
Suey the yeah yeah yeah I guess!

Excellent guests,
Yet faith,
Yet faith,

You seated at us!

Eggs for guests!

Need to get suggestions for keggers!
Tomorrow’s furious sun-a-rise!
Need-a sauce!
Like some samboria say…
This is stupid, lists of guests,
Really need a secure swain!
Stupidest suggest, oy!
Get us!

Suey the yeah yeah yeah I guess!
Suey the yeah yeah yeah I guess!
Suey the yeah yeah yeah I guess!