Author: Davey Dreamnation (page 129 of 237)

Davey Dreamnation (1972–?) is an Australalian musician, vocalist, pirate and record-label owner who now lives 'in the third person'.

View his full biography.

Emotional Detox

just where the instrumental kicks in
i’m down at reception signing names
now she’s back from hell’s other wing
stirring up trouble beneath our skins
clouds sown with rain seeds as down
systems beyond the understanding of
space entrepreneurs see their boring
powers & if they want to photograph
me from space they’re welcome to it
just remember they’ll be dead some
day too (just like walt disney’s head
we’re only information conduits & if
you think they’re watching you then
they are if even a small part of what
we suspect is true then paranoia is
a justifiable state nay natural even &
for those who don’t understand I’m
mad & I’m dead it’s not what passes
through us may be evil or the moon
but for all their talk of legislating
asteroid belts (some poets have no
choice but to submit to the leather
clampdowns clash reruns (i predict
a flash of lightning followed by the
numb acceleration of our particles
through american airspaces despite
secrecy & deniability all it takes to
make spy satellites real is one group
of astral enthusiasts (or nuts we’d
like to call them train a telescope
on the sky behold there’s something
up there look at what’s inside your
own brainstem before you mouth off
about the
†††††††††††††††††††††technically insane

Great Moments in Architecture (1)

This magnificently-crafted construction, located within the grounds of the University of Melbourne, demonstrates the breathtaking potential of modern architecture, a topic upon which I have recently had occasion to reflect. The smooth, elegant and organic lines of this mysteriously artistic building remind me somewhat of a gum tree, with its attendant leaves, bark and sap. The intricacy of the “branches” elevates the entire structure to a cosmic plane, its swooping lines and fractal geometry spell-binding in their artistry and grace. Over one hundred years in the making, this building was apparently designed to keep growing until it falls over, a somewhat cheeky irony on the part of its architect. Surrounded as it is by glass and steel, this building also speaks of a new renaissance in architecture, one in which the natural world is allowed to thrive, and where the improbable decisions made by nature are deliberately fused with the perhaps more advanced methods of suspension and disbelief. One of the greatest beauties of a building like this (and surely one that should be pointed out again and again to money-grubbing governments and institutions) is that it costs virtually nothing, being self-replicating in its materials and form. It also (uncannily) provides shade and creates a natural ampitheatre at its base (although the building’s susceptibility to lighning strikes, in my opinion, warrants some sort of lighning rod being installed on the “roof”). The synergies between nature and man-made objects are further enhanced in this instance by the curious tendancy of the local birds of sitting in the branches. While the number of staff housed in this building remains unknown, the potential for space-saving through the widespread construction of these kinds of edifices confounds the imagination. Its architects (and the university administration) are to be congratulated for bucking that trend towards enclosed, right-angled and box-like structural design that haunts our every city, and choosing instead to build an open-planned, sunlight-induced monument to this great continent and its floral diversity. Impeccably crafted, moody and transparent in its yearning, this extraordinary brain-spasm will hopefully stand for years to come as an example of bravery, courage and consternation. I hereby name it eucalyptus designus. Thank you for your attention.

The In Jokes

injokes.jpg

Future pranksters The In Jokes (pictured) will release their debut (in fact, only) single on the highly respected [dnrc] label some time in 2007. Find out its fate by visiting the [dnrc] site today. Or tomorrow. I mean, it’ll still be there then. The picture above, taken by a [dnrc] administrative assistant at a recent bash held to celebrate [dnrc]’s fiftieth release, shows multi-instrumentalist Wu Gazer on the left and cryptic lyricist Maikiki on the right, just behind, slightly out of focus. Hat and specs were provided by the lead singer of Super Grope, who should not be confused with the lead singer of The Cosby Kids. Hair, as ever, by Brian.

And we attacked the world and it worked

two hearts rushing into the freaky world
busted compromised lonely to be pitied –
smashed our glasses & instead went blind
no way back thrashed beaten or overcome†

& so we attacked the world & it worked –
put our divisions into place & attacked
attacked their betrayals & coded silence
coded our response to meet unmet demands

why do you do what you do you dead people
& why do you bother learning to scream –
or even to fly (you know how that’s okay
but what the fuck’s your problem anyway?

two hearts thrashing at the stolen world
& so we attacked the truth & it exploded
fine by us we said here’s another radio –
scorned by some ubiquitous social scenes

driven like a bus through horizontal snow
they turned up a heater instead of an amp
& so we attacked each other & it worked –
flew into flight plans destined for death

we attacked the dead & they said nothing –
attacked attacked & thrashed against poles
tore down maps trudged through wrongs ways
now the seasons crawl like stupid traffic

& the crows find food even in plastic bags
attacked attacked (i can’t find your lips
maybe you just needed to cry rivers drains
two hearts pushing into the freaky stream –

attacked the line attacked each other till
the emptiness of forever the brittle calls
the studded avenues of mistakes brawling –
we attacked the world & it fucking worked