Evanescence - Where will you go

I was really reaching for something to talk about today. Not to say I don't have a ton of stuff I could say it's just that nothing really seemed to grab me. So I've started up my favorite play list, and decided to talk about Evanescence. I debated talking about turnicate or going under, but I think I want to hit something from Origins, instead of Fallen. Fallen is decidedly mainstream, and I've the whole thing memorized, so Origin grabs my attention more. This way I can analyze some of it too ...

Do you ever consider WHY you listen to something? There are several reasons I really like Evanescence, besides the impules to throw a few 'horns' up when the music gets really loud. Firstly, Amy Lee, lead singer, is bad ass. Secondly, the counterpoint they use is just as engaging as their refrains and main rifs (namely their interesting percussion and use of male backups). Third, it lets me feel angry without getting obsessed. I like this one the best. It's great when I'm really in an 'eh' mood. I put them on, I get a littile angst and anger, and then I turn them off and I feel renewed. If it only worked all the time ...

Where will you go, selected quote:

You’re too important for anyone
There’s something wrong with everything you see
But I, I know who you really are
You’re the one who cries when you’re alone

[CHORUS:]
But where will you go
With no one left to save you from yourself
You can’t escape
You can’t escape

You think that I can’t see right through your eyes
Scared to death to face reality
No one seems to hear your hidden cries
You’re left to face yourself alone

[Chorus]

I realize you’re afraid
But you can’t abandon everyone
You can’t escape
You don’t want to escape

I’m so sick of speaking words that no one understands
Is it clear enough that you can’t live your whole life all alone
I can hear you in a whisper
But you can’t even hear me screaming

[Chorus]

I realize you’re afraid
But you can’t reject the whole world
You can’t escape
You won’t escape
You can’t escape
You don’t want to escape

~ courtesy of Lyrics Style

One of the coolest things I think they do here is emulating the third party they are addressing. When the "I'm so sick of speaking words" part starts, is a good example. They emphasize this by changed time and key, changing from the minor to a major (I think). It is interesting, since the chorus repeated is in the raised key, is this then internal monologue? Then the I, a detached psyche, addresses the conscious 'you'. Hmm ...

Is it music ala Gollum or?? So, I have to admit, this section messes with me:

I’m so sick of speaking words that no one understands
Is it clear enough that you can’t live your whole life all alone
I can hear you in a whisper
But you can’t even hear me screaming

I uber enjoy it, but it catches me almost every time I listen to it. First line is I and no one. The second line is you (ify all alone). Then, I and you. Lastly, you and me. So we first hear, someone expressing a feeling, addressed to a general (exclusive) audience. Then, is it you, generally again, or you specifically? I think it makes a difference: (1) you generally = no one cane, we all need someone, and (2) you specific = you are incapable, needy, dependend. I think Amy gives a long enough pause to separate lines 1 and 2 from 3 and 4. Line three is odd because we have the 'someone' presumably talking from line 1, addressing a you. If the you is general, it connects neatly with line 2, suggesting the person here notices the world. Perhaps the person is too connected to the world, they take note even of whispers. But if the you is specific it can be outward or inward. Outward it is most likely addressed to someone, someone trying to exclude the world i.e. Amy. Then line 4 makes perfect sense, 'you idiot, you don't even listen to me.' But, if the you is internal, the 'whisper' 'screaming' exchange changes. It results in an amalgum of 'I speak, no one understands, I'm so alone. I'm so alone that I hear myself when I whisper, but sometimes I'm so alone I don't even hear myself when I scream.' I like it ... it's dark. I really wish they'd given more to go on, but I like it :)

Again the male backgrounds add a not-so-kosher background. It's interesting, because I think they use a nonconventional third, instead of the normative third, in the counterpart for the male obligatos. It seems more prominent when Amy sings in the raised key at the end. Then the yeah yeah's (not listed in the lyrics) begin, and I think the male takes the melody, leaving the harmony to overlaid male/female backups and a chorus.

Anyways, see what you get when I can't think of other things to write about. Hope everyone had a good weekend.

~ Brian