A test of my metal

I’ve been putting off heavy metal as you can probably tell by my jumping to glam rock and blaming it on Wikipedia. The trouble with HM is that there isn’t a metal that I’m not mostly ignorant of. Apart from the few exceptions that had the speed and cogency of punk or some quirk that took my fancy, there were a thousand denim clad disciples better placed than I

That’s the theory though and this is a writing praxis. I’ll apply the following rules to conform to the dictates of metal: it will be menacing or dark in some way, it will contain some of the rebellion or displeasure that defines the very real cod metal. We’ll still just have to see..

Stop You in Your Tracks

The fuddling of the feat to make it here 
the full intent to disappear
for you were sent and scent alone
overthrown where it's overgrown
I'm going to stop you in your tracks

Since the prints were washed away
a war on watershed  display
Broken branches of banking threat
reach for the usual rite of regret
stop you in your tracks
stop you in your tracks

The wending con they're sending COD
the distance dusting up 'tween you and me
The forks at which we talk
 as having taken this walk
 
The bullies fully loaded the pipes of peace corroded
ringbarked or railroaded
though you thought to make it out of this
even an avenue to ally with alleys thus 
[CHORUS]

 

Glam ping

Ever So Slightly

As if this stiff could ever lift
the sent home with sentiment
this rule of release relent
this season's subtle shift in tone

Like this lad could lead or load
the embers of September into code
fibbers on fibre to the node
Now we're equipped with here encrypt
We've heard your crash We've seen your slip
lend me your ear and don't give me lip

In what way could the watts sway
the speckle of sparks stray
The little lightening of the load
 that'll give you trouble up the road
 
As if this stiff could ever shift
the cementing of seemly sentiment
this riled rules out repellent
this season's subtle lift in tone


Pop rock bar, Baroque pop

Okay, so before we get to baroque pop, I’d like to put my editor’s cap on and point out that the more familiar, even cliched, ‘ear to the ground’ works far better here than the gimmicky ‘nose to the ground’ though I’ll allow the songwriting part of my brain – or the direct access to the Muse, whichever you fancy – had a bloodhound trail on this thought and may have wanted to open with it and see whether it was picked up, with what was to follow

You Turn Me Upside Down

I keep my ear to the ground
I'm the square there when you're around
proof once aloof in love now profound
You turn me upside down, girl (turn me upside down)
[RPT]

My feet can't compete with the noise on the street
You take me apart like it's art yet make me complete
My shins shine where a grin should begin
My knees pressed where who knows needs to guess
The best moment not to be in
[chorus]

I liked being aright but you set me alight
  in standing and landing right
It was my head that said those I'd eyed could step instead
   into the light defining the night
[chorus]


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