Emory Thorne - She’s the One

The moon shines in an infectious way. In a way that there may not exist a word for, because infectious carries with it this horrible connotative burden of rotting and disease, but that from a very pragmatic stance is in fact “infectious.” On Miralai, and in particular on this particular night, the light travels and multiplies. When the moon’s shine meets the mist of a waterfall, it sticks more than reflects, imbuing the millions of particles of water with its own luminous qualities. The water itself generates a glow. This results in the rapid spreading of moonlight throughout the ambient scene, creating a wonderful blanket of white-lit illumination.

The camel observes, chewing interminably on some unidentifiable piece of everlasting cud. His patience is palpable, and unwavering in the frenetic presence of his rooster-esque companion, who is flitting about from his perch in unmanageable excitement.

Tamuu is lost in wonder, losing and immersing himself in it with an ease that is rare to find outside of the minds of children, who have few ideas about how the world should be and whose mental gears have not been bogged down in the muck of low-resolution heuristics and biases and predispositions.

“This is like a dream!!” whispers Tamuu.

The artwork for this came from a dream I had. There was a dynamic duo, a camel and a rooster. The camel was wise and even-tempered. The rooster was brash and overeager and somewhat chaotic. I have no idea if camels and roosters can exist in the same biome environments (nor am I particularly concerned with realism, in the world of Miralai). I saw the rooster sitting on the head of the camel in all sorts of fantastical tropical and desert environments.

Tamuu, of course, is his optimistic, childlike, determined, wonder-driven, simple (positively connoted) self, as he always is.

This song, more than anything else, is to me sort of dreamlike. It is about a hypothetical that makes sense, but is also sort of unreal at times, e.g. I am not sure what the borderline is and what sort of dance one might do there, and searching the desert and the sea for ways to impress someone seems hyperbolic at best and fruitlessly misguided at worst. The whole thing is, really, just a bit of fun. Sometimes you need to do a bit of fun. Perhaps the bit of fun means something as well, on accident, which seems to usually be better anyway than meaning something on purpose — in the overbearing, over-intentional, didactic sort of way, anyway (which is how it usually seems when I encounter art that is of that nature).

Turn me away
I get it
There’s always time to change
Tell me to wait
Forget it
I’m moving my own pace
Stuck in a maze
Remembering
The things we used to say

Rest your head upon my chest
We’ll ride away
Oh, oh, oh

She’s the one
Who I run away with in my other life
She’s the one
In my daydream dancing on the borderline
I better get my head straight
Cuz it’s 5 after 9
I’m wishing
She’s the one who made me late

All of the days before you
I grew up wild and free
Searching for ways to floor you
In the desert and the sea
They’re empty and gray

If I can’t adore you
The world is dead to me
I’m still out here looking for
A life to lead
Oh, oh, oh

She’s the one
Who I run away with in my other life
She’s the one
In my daydream dancing on the borderline
I better get my head straight
Cuz it’s 5 after 9
I’m wishing
She’s the one who made me late

Oh, oh, oh
I’m wishing
She’s the one who made me late

She’s the One was tracked / recorded at 133bpm and then varispeeded up to 136.30 bpm just for fun, which again creates the common nightmarish non-tuning for those looking to play along (the instrumental and vocal versions included in the audio downloads link of this package are not varispeeded, e.g. are in normal tuning). The key of the song is, when not sped up, A♭ major. (The studio version is 42.4 cents up, just under half a note/semitone).

One chord progression follows throughout the whole song. It is as follows:

B♭ bass, D♭–F–A♭ (B♭m7)
E♭ bass, E♭–A♭–D♭ (E♭sus4?)
A♭ bass, A♭–C–E♭ (A♭ major)
G bass, A♭–B♭–E♭ (G7sus4?)

Then, every other four bars, there is an additional chord (the bass descends to E♭)

Guitar transcriptions (at your own risk):

B♭m7: 688766
E♭sus4(add7): x68886
A♭: 466544
G7sus4(♭9,♭13): 3x8866
E♭sus4(add7) / variation bass drop: x68866