Imogen Heap — Lifeline
Album: LifelineAvg rating:
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Total ratings: 138
Length: 4:45
Plays (last 30 days): 0
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freeze frame on me
can you read it on my face?
data mining from old memories
Sunflowers and a smile catching
welcome in a heartbeat to the family
light thai lanterns, wish bound in the night
who what when
all in one
Stir of a teaspoon
I'm shaken and gasping for air
Lifeline, before and after in an instant of great white gravity
hold tight, coz all is against me every cell in my body brace
and keep breathing
gracious future
won't you lend a hand to pull me through?
Coz me and you've got some things we need to see to
let's get to work, let's get to work
Adventures in the multiverse
effervescent candlelit closenesses
Plus I feel like I've just got the hang of this 'living' thing
who what when
all in one
Stir of a teaspoon
I'm shaken and gasping for air, air, air, air
I will on one day
and sometime in someplace
I've still got some go in me yet
Life line, before and after in an instant of great white gravity
hold tight, coz all is against me, every cell in my body brace
Rise high, cling to the laughters for that moment of broken tragedy
Bright eyed the world is against me every cell in my body brace
Woo, And keep breathing, check breathing, still breathing
my bones stay strong
my days still long
my heart has many heartbeats
and home, is where love is
woah...
Life line, before and after in an instant of great white gravity
hold tight, coz all is against me, every cell in my body brace
Rise high, cling to the laughters for that moment of broken tragedy
Bright eyed the world is against me every cell in my body brace
And keep breathing
lifeline, before and after
the moment that makes me
hold tight all is against me
Well I've still got my eye on tomorrow
The moment that makes me I'm in it deep
can you read it on my face?
data mining from old memories
Sunflowers and a smile catching
welcome in a heartbeat to the family
light thai lanterns, wish bound in the night
who what when
all in one
Stir of a teaspoon
I'm shaken and gasping for air
Lifeline, before and after in an instant of great white gravity
hold tight, coz all is against me every cell in my body brace
and keep breathing
gracious future
won't you lend a hand to pull me through?
Coz me and you've got some things we need to see to
let's get to work, let's get to work
Adventures in the multiverse
effervescent candlelit closenesses
Plus I feel like I've just got the hang of this 'living' thing
who what when
all in one
Stir of a teaspoon
I'm shaken and gasping for air, air, air, air
I will on one day
and sometime in someplace
I've still got some go in me yet
Life line, before and after in an instant of great white gravity
hold tight, coz all is against me, every cell in my body brace
Rise high, cling to the laughters for that moment of broken tragedy
Bright eyed the world is against me every cell in my body brace
Woo, And keep breathing, check breathing, still breathing
my bones stay strong
my days still long
my heart has many heartbeats
and home, is where love is
woah...
Life line, before and after in an instant of great white gravity
hold tight, coz all is against me, every cell in my body brace
Rise high, cling to the laughters for that moment of broken tragedy
Bright eyed the world is against me every cell in my body brace
And keep breathing
lifeline, before and after
the moment that makes me
hold tight all is against me
Well I've still got my eye on tomorrow
The moment that makes me I'm in it deep
Comments (21)add comment
christopherwoods wrote:
I think one of the appeals of Immi is that she's a multi-instrumentalist and also very technically capable in the studio - this isn't such a big thing these days (well, I think it is) — but she was breaking new ground with electroacoustic composition at the turn of the last decade. Her compositions are engaging and (IMO) draw you in; some of the imagery she evokes can be quite startling and visceral when you stop and dig through the layers to actually 'listen' to it. She challenges a few preconceptions about what makes a 'good tune'; I also like how she plays with sound on a technical level (but that's probably from my background as a sound engineer / producer). She's also not shy of writing non-rhyming lyrics. ;-)
Some of her stuff is, I will readily agree, a bit so-so - I vastly prefer her first album, Speak for Yourself, over her second album Ellipse - but she's a 'marmite' artist (you either really like or really dislike her music, there's not much of a middle ground).
If you saw her live and was unimpressed then you must've been unlucky and caught her on an off day, she's usually fantastic live and has done some quite interesting things directly involving her fans to contribute to live impromptu composition at gigs - sometimes given away as free downloads after the fact, sometimes included in her released musical works. She's really quite excellent at fan engagement too, which I think deservedly brings her fans.
All said and done, she's fundamentally a talented musician, vocalist and composer — and people like her should continue to be supported and encouraged! :-)
Sorry, but for me all of that technical stuff and her admittedly strong interaction with an audience is of no importance in the face of the lack of any real melody. There's a plethora of artists who do manage to combine technical mastery with decent melodies.
I think one of the appeals of Immi is that she's a multi-instrumentalist and also very technically capable in the studio - this isn't such a big thing these days (well, I think it is) — but she was breaking new ground with electroacoustic composition at the turn of the last decade. Her compositions are engaging and (IMO) draw you in; some of the imagery she evokes can be quite startling and visceral when you stop and dig through the layers to actually 'listen' to it. She challenges a few preconceptions about what makes a 'good tune'; I also like how she plays with sound on a technical level (but that's probably from my background as a sound engineer / producer). She's also not shy of writing non-rhyming lyrics. ;-)
Some of her stuff is, I will readily agree, a bit so-so - I vastly prefer her first album, Speak for Yourself, over her second album Ellipse - but she's a 'marmite' artist (you either really like or really dislike her music, there's not much of a middle ground).
If you saw her live and was unimpressed then you must've been unlucky and caught her on an off day, she's usually fantastic live and has done some quite interesting things directly involving her fans to contribute to live impromptu composition at gigs - sometimes given away as free downloads after the fact, sometimes included in her released musical works. She's really quite excellent at fan engagement too, which I think deservedly brings her fans.
All said and done, she's fundamentally a talented musician, vocalist and composer — and people like her should continue to be supported and encouraged! :-)
Sorry, but for me all of that technical stuff and her admittedly strong interaction with an audience is of no importance in the face of the lack of any real melody. There's a plethora of artists who do manage to combine technical mastery with decent melodies.
new to me and quite enjoyable!
I've totally dug Imogen Heap after seeing her use her sampler, here: https://www.youtube.com/watch?v=25VGdNU3nrU
ncollingridge wrote:
Quite. All style and no content. Vocal noodlings with no underpinning instrumental support. I saw her at WOMAD Charlton Park 2010 and she bored me to tears. She obviously thinks she's great, though.
I think one of the appeals of Immi is that she's a multi-instrumentalist and also very technically capable in the studio - this isn't such a big thing these days (well, I think it is) — but she was breaking new ground with electroacoustic composition at the turn of the last decade. Her compositions are engaging and (IMO) draw you in; some of the imagery she evokes can be quite startling and visceral when you stop and dig through the layers to actually 'listen' to it. She challenges a few preconceptions about what makes a 'good tune'; I also like how she plays with sound on a technical level (but that's probably from my background as a sound engineer / producer). She's also not shy of writing non-rhyming lyrics. ;-)
Some of her stuff is, I will readily agree, a bit so-so - I vastly prefer her first album, Speak for Yourself, over her second album Ellipse - but she's a 'marmite' artist (you either really like or really dislike her music, there's not much of a middle ground).
If you saw her live and was unimpressed then you must've been unlucky and caught her on an off day, she's usually fantastic live and has done some quite interesting things directly involving her fans to contribute to live impromptu composition at gigs - sometimes given away as free downloads after the fact, sometimes included in her released musical works. She's really quite excellent at fan engagement too, which I think deservedly brings her fans.
All said and done, she's fundamentally a talented musician, vocalist and composer — and people like her should continue to be supported and encouraged! :-)
Quite. All style and no content. Vocal noodlings with no underpinning instrumental support. I saw her at WOMAD Charlton Park 2010 and she bored me to tears. She obviously thinks she's great, though.
I think one of the appeals of Immi is that she's a multi-instrumentalist and also very technically capable in the studio - this isn't such a big thing these days (well, I think it is) — but she was breaking new ground with electroacoustic composition at the turn of the last decade. Her compositions are engaging and (IMO) draw you in; some of the imagery she evokes can be quite startling and visceral when you stop and dig through the layers to actually 'listen' to it. She challenges a few preconceptions about what makes a 'good tune'; I also like how she plays with sound on a technical level (but that's probably from my background as a sound engineer / producer). She's also not shy of writing non-rhyming lyrics. ;-)
Some of her stuff is, I will readily agree, a bit so-so - I vastly prefer her first album, Speak for Yourself, over her second album Ellipse - but she's a 'marmite' artist (you either really like or really dislike her music, there's not much of a middle ground).
If you saw her live and was unimpressed then you must've been unlucky and caught her on an off day, she's usually fantastic live and has done some quite interesting things directly involving her fans to contribute to live impromptu composition at gigs - sometimes given away as free downloads after the fact, sometimes included in her released musical works. She's really quite excellent at fan engagement too, which I think deservedly brings her fans.
All said and done, she's fundamentally a talented musician, vocalist and composer — and people like her should continue to be supported and encouraged! :-)
9....
jagdriver wrote:
Quite. All style and no content. Vocal noodlings with no underpinning instrumental support. I saw her at WOMAD Charlton Park 2010 and she bored me to tears. She obviously thinks she's great, though.
Where's the melody?
Quite. All style and no content. Vocal noodlings with no underpinning instrumental support. I saw her at WOMAD Charlton Park 2010 and she bored me to tears. She obviously thinks she's great, though.
Cool song, cool video too. Score yet another cool tune Bill has turned me on to (it's a pretty long list).
On my do-or-die concert list. Video is a little too literal for my taste, but she does have a striking visage.
Upped my rating after seeing the video. Incredible imagery.
htowncoog wrote:
Yes, I'd love to check out the video, but this one can only be seen in certain countries (I wonder which ones). I hate videos that are limited in this way. Anyway, nice song.
htowncoog wrote:
Good recommendation....very well done video. The bridge of the song, or last section before the chorus out, gave me serious goose bumps. Nice chord change and soaring vocal.
heapsong wrote:
heapsong wrote:
Everyone needs to see the music video (looks best in high quality, on full screen):
Yes, I'd love to check out the video, but this one can only be seen in certain countries (I wonder which ones). I hate videos that are limited in this way. Anyway, nice song.
Upped my rating after seeing the video. Incredible imagery.
htowncoog wrote:
htowncoog wrote:
Good recommendation....very well done video. The bridge of the song, or last section before the chorus out, gave me serious goose bumps. Nice chord change and soaring vocal.
heapsong wrote:
heapsong wrote:
Everyone needs to see the music video (looks best in high quality, on full screen):
Good Music
Where's the melody?
Good recommendation....very well done video. The bridge of the song, or last section before the chorus out, gave me serious goose bumps. Nice chord change and soaring vocal.
heapsong wrote:
heapsong wrote:
Everyone needs to see the music video (looks best in high quality, on full screen):
Everyone needs to see the music video (looks best in high quality, on full screen):
The lyrics rate rather high on the geeky scale (that's a good thing) with lines like "Adventures in the multiverse" and "Data mining from old memories."
It does sound like an Imogen Heap song. That's a Good Thing(tm).
It does sound like an Imogen Heap song. That's a Good Thing(tm).
♥ ♥ ♥
Rather exciting tune; rich in under and overtones.
Fascinating if a bit, dare I say it... overproduced?
I do like it.
Fascinating if a bit, dare I say it... overproduced?
I do like it.
Third!! and maybe true about Peter, but not the same.
She sort of sounds like what Peter Gabriel would sound like as a woman....ish. Like the tune..
First!
...That settled. About the song. Kinda sounds like much of her other work. I'm not saying she needs to reinvent herself, because she's obviously struck a chord, if you'll pardon the phrase, with her music. But this song doesn't distinguish itself enough for me. New Imogen sounds like Old Imogen. Nice, but not captivating.
...That settled. About the song. Kinda sounds like much of her other work. I'm not saying she needs to reinvent herself, because she's obviously struck a chord, if you'll pardon the phrase, with her music. But this song doesn't distinguish itself enough for me. New Imogen sounds like Old Imogen. Nice, but not captivating.
I think one of the appeals of Immi is that she's a multi-instrumentalist and also very technically capable in the studio - this isn't such a big thing these days (well, I think it is) — but she was breaking new ground with electroacoustic composition at the turn of the last decade. Her compositions are engaging and (IMO) draw you in; some of the imagery she evokes can be quite startling and visceral when you stop and dig through the layers to actually 'listen' to it. She challenges a few preconceptions about what makes a 'good tune'; I also like how she plays with sound on a technical level (but that's probably from my background as a sound engineer / producer). She's also not shy of writing non-rhyming lyrics. ;-)
Some of her stuff is, I will readily agree, a bit so-so - I vastly prefer her first album, Speak for Yourself, over her second album Ellipse - but she's a 'marmite' artist (you either really like or really dislike her music, there's not much of a middle ground).
If you saw her live and was unimpressed then you must've been unlucky and caught her on an off day, she's usually fantastic live and has done some quite interesting things directly involving her fans to contribute to live impromptu composition at gigs - sometimes given away as free downloads after the fact, sometimes included in her released musical works. She's really quite excellent at fan engagement too, which I think deservedly brings her fans.
All said and done, she's fundamentally a talented musician, vocalist and composer — and people like her should continue to be supported and encouraged! :-)
Agreed. I think if you watch her glove performance/demonstration (https://www.youtube.com/watch?v=6btFObRRD9k) you will have to agree that she's a very talented/interesting artist.