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Tambourhinoceros

Splendour

by Communions

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1.
Splendour 04:16
When fountains spring Soak her in With what you see And what you say And what you dream Adorn despair Happily lost ‘Cause you long to drop a dime into the depths Of her wishing well ’Til your blood runs cold Slightly ill with heightened sensibility One with the mire Your soul’s on fire But you won’t sigh And you won’t care And you won’t cry Behold her splendour Her splendour Every night The more that people swarm Around her face The less her eyes resemble anyone But you might feel Chosen from A crowd of lovers waiting at her door Every night For a chance to play The game that’ll have them leaping in the grave With emotions purged And no sense of self Spoken by a language not their own Behold her splendour Her splendour Every night You’re crushed under the weight Of bubbling scum And forms of things unknown That flourish and fade With hesitating lights From distant planets That’ll swallow you And spit you out Cupid’s slings Have gone and made you blind And wilfully oblivious To the lurking pain behind each Exquisite frame You’re crushed under the weight Of bubbling scum And forms of things unknown That flourish and fade With hesitating lights From distant planets That’ll swallow you Splendour Her splendour

about

Introducing the retrofitted Communions on Tambourhinoceros is the schizophrenic single “Splendour”, a song about “a sickly, unattainable love. One which possesses a destructive power.” Communions’ Martin Rehof sings of a “crowd of lovers” under the influence of a lust so intoxicating that it sends them “leaping in the grave”.
What begins in the tone of young, innocent adoration — “when fountains spring, soak her in” — transforms by the end of the song into one of destructive love; deception, ignorance and impurity.
Cupid’s slings
Have gone and made you blind
And wilfully oblivious
To the lurking pain behind each
Exquisite frame

“I wouldn’t say that it’s necessarily about a specific person” says Martin Rehof, musing on the song’s multifarious meaning. He continues:

“Rather, in a less concrete sense, it’s about the oppressive power that certain things in life can have over you. For instance, making art is something I love, but not something I feel I can help, and often it can be quite painful and fruitless. It’s like this thing, whatever it is, has chosen you, and not the other way around. It might inflict you with pain, but you almost come to enjoy it; you sort of accept it, embrace it, and maybe even thrive on it. It’s the context of someone addicted to someone or something else — where the power dynamics are skewed.”

Musically, some elements of “Splendour” are skewed as well. “The guitar was recorded through a vocoder” says Martin, reflecting on what he calls a “schizophrenic” recording process; a process that was intended to reflect the song’s themes. And although the lyrics of “Splendour” transition from bright to dark, the Rehof brothers’ musical connection shines throughout, reminding us of Communions’ earnest spirit.

credits

released November 30, 2020

Communions are Martin Rehof and Mads Rehof
Produced by Mads Brinch Nielsen
Mixed by Mads Brinch Nielsen
Mastered by Emil Thomsen
Recorded at Sauna Recording Studio

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Communions Copenhagen, Denmark

Communions' indie rock is marked by sharp cultural criticism, self reflection, and artistic commentary of a grand scale. The Danish band's new music takes the signature indie rock from the dark clubs of their youth in Copenhagen and merges it with full-fledged cerebral critique and symbolism. ... more

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