The song of most significance on Johnny Marr’s latter EP’s from this perspective is “Lightning People”. The rest of the tracks perform as colour fills in the backdrop of the prior releases, meaning they supply a more detailed background to the objects in the foreground. On its own it’s too general to be significant, but they fill out the scene very well for the most part. There are signifiers of mind to mind connection (“Speed of Love”), and a crossing that signals making it through the dawn of creation (“Rubicon”). This entry is about the lyrical analysis for the songs so let’s just cut to the chase and supply it. It is a harbinger of the present progression, which means the picture will be imbued with true perspective, which is a real delight. What I mean is that the feedback loop is showing signs of arriving at a level of organization where the interpretations are building on themselves, and this is the most significant so far, which will become apparent with analysis of Arcade Fire’s “Lightning I, II”, -an analysis only made possible in terms of the elucidation of the past that wasn’t on record yet, but was prompted by Johnny Marr’s “Lightning People”. (Which is why it was important to have it archived before Arcade Fire’s release, which it was.) And paradoxically before Arcade Fire’s release, we were just “Skrting on the Surface”, but now this will be given its due. Each supports the other, namely, the first conferred a collective identity in this term of reference, but it is the depth of perspective brought into relief subsequently that imbues the collective with depth of resonance and gives it an identity by name.
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