Composition
"The Sprawl" was inspired by the works of science fiction writer William Gibson, who used the term to refer to a future mega-city stretching from Boston to Atlanta. The lyrics for the first verse were lifted from the novel The Stars at Noon by Denis Johnson. "Cross the Breeze" features some of Kim Gordon's most intense singing, with such lyrics as, "Let's go walking on the water/Now you think I'm Satan's daughter/I wanna know, should I stay or go?/I took a look into your hate/It made me feel very up to date". "Eric's Trip" has lyrics pertaining to Eric Emerson's LSD-fueled monologue in the Andy Warhol movie Chelsea Girls.
"Hey Joni" is titled as a tribute to rock standard "Hey Joe" and to Canadian singer-songwriter Joni Mitchell. It is sung by Lee Ranaldo, and has surrealist lyrics such as "Shots ring out from the center of an empty field/Joni's in the tall grass/She's a beautiful mental jukebox, a sailboat explosion/A snap of electric whipcrack". This song also alludes to the works of William Gibson with the line "In this broken town, can you still jack in/And know what to do?" These feature similarly on Lee's two other songs on the album, the rarely-played "Rain King" — a homage to Pere Ubu and perhaps Saul Bellow's Henderson the Rain King — and the aforementioned "Eric's Trip".
The album's title comes from a lyric in "Hyperstation", and the closing track "Eliminator Jr." (inspired by the "Preppie Killer" Robert Chambers) was thus titled because the band felt it sounded like a cross between Dinosaur Jr. and Eliminator-era ZZ Top. It was given part "z" in the "Trilogy" both as a reference to ZZ Top and because it is the closing piece on the disc.
Read more about this topic: Daydream Nation
Famous quotes containing the word composition:
“When I think of God, when I think of him as existent, and when I believe him to be existent, my idea of him neither increases nor diminishes. But as it is certain there is a great difference betwixt the simple conception of the existence of an object, and the belief of it, and as this difference lies not in the parts or composition of the idea which we conceive; it follows, that it must lie in the manner in which we conceive it.”
—David Hume (1711–1776)
“I live in the angle of a leaden wall, into whose composition was poured a little alloy of bell-metal. Often, in the repose of my mid-day, there reaches my ears a confused tintinnabulum from without. It is the noise of my contemporaries.”
—Henry David Thoreau (1817–1862)
“Pushkin’s composition is first of all and above all a phenomenon of style, and it is from this flowered rim that I have surveyed its seep of Arcadian country, the serpentine gleam of its imported brooks, the miniature blizzards imprisoned in round crystal, and the many-hued levels of literary parody blending in the melting distance.”
—Vladimir Nabokov (1899–1977)