across the great divide
part 1
daniel johns hails from the ghetto his
exhortations pure LA-urban flippancy
the showmanship a plurality of faces /
arms / fingers / fluid gyrations
vocal licks come spliced from his teeth
we even accept one rhythm-section as the
conspicuous solid-presence on stage because
their newcastle slouch sparks the sensory
jump: we're listening one headphone
apiece that stretch of years ago with
guitar songs all about one singer now
it's only more so / more present / more
material / a more
let me hear you say yeah tonality
bands expect so much of a crowd this one
might deflate without you, me, various screams,
we are important we are seminal like
the pause twinkling with keyboard flange
signalling that line from 'anna's song':
it's quiet & us now & years ago:
also the universe of a timid car home
part 2
then you have to forget words
groups being about something
other to language & what can
musicians do but describe facts
lyrically
like a writer writing through a
lyrical objectivism phase
bernard wears a scarf & the
bass approaches a heart-attack
like me on tumble dry
happiness sliding onward so
observers jump:
powderfinger, writers & police alike
later the side-stages are ears
are orifices for acoustic testament
one for palm island & reconciliation
when you write about things there's
always a chance