idle talk = foolish or irrelevant talk; barren, abandoned, empty talk
Lyrics (approx.):
Where are you, my long lost love?
It feels like yesterday has parted
I held you closest to my trusted heart
Now the withdraw seems to be starting
You’re not like anyone I’ve known (I’ve ever met)
With you, I flourish into greatness
Extend my arms into a misty light
Making my future path seem weightless
Quiet undertaking of fair promises, I stopped hearing you grow
Quite an understatement, when hopes of a season is hidden in snow
I should have kept you safe, shielded from approaching wolves
Where are you, my parted son?
The last I saw of you was sinking
Into a giant hole of nothingness
As my desire started shrinking
Or if I choose to take you back, (Swear I’m gonna make ya’)
If I stand up for my believing, (If you can steal me, I’ll come back)
Can we make up for all the joy we’ve lacked? (If was the motion you were making)
Can we start giving and receiving? (I won’t stop moving ’til we leave, oh)
Quiet undertaking of fair promises, I stopped hearing you grow
Quite an understatement, when hopes of a season is hidden in snow
(It’s the same, the same, the same, the same, the same, the same, the same, the same) [reversed]
Where are you, my long lost love?
It feels like yesterday has parted…
Add idle talk to that triangle I was talking about with the in due order post. Place it somewhere in the middle maybe, because, as far as I’m concerned, idle talk MO is the unified play and in due order MO. The first images of the video depict her laying on her back again. She’s dreaming once more and she likes what she dreams. If you take a look at what she is wearing, we’re dealing with in due order MO dressed in play MO clumpy coat. A hybrid. This, to me, tells me that she’s managed to make a choice between body and mind/ two sides of her brain and this choice, fortunately, does not exclude anything, but mixes everything, balancing all traits of her self for the great purpose of finding the perfect measure.
This is the moment I think we should say goodbye to the five clumps. The reconstructed MO is able to turn her fears into dust. Mission accomplished. Or is it… One very interesting thing is how this image is arranged. It’s like when the clumps turned to dust they’ve been splattered against some imaginary walls. I could not figure out why yet, I see those boundaries and cannot understand why…
The moment she trades the horizontal for the vertical coincides with the changing of setting. She is now back into the field at the beginning of play, from where she went down under, into the ‘dusty hole’. MO looks around, seems comfortable wearing her dusty coat.
The act of placing the hat on her head is the opposite of the act of leaving her helmet behind in drops. The meaning of this gesture is that she’s regaining control of her mind, she starts to compose herself, remember some memories of the real world. Notice how she places the hat on her head and adjusts it until it gets in the right place. That’s her readjusting to(wards) reality. Only after that does she move.
Whoever she is talking to does not exist or is prohibited for her to see/meet. She does talk about love, but it is idle talk and she knows it. The use of ‘parted’ in ‘where are you my parted son’ is very important because it describes a separation (sever). A son that has been taken away from her. It is now that I would make an Alraune reference again and say that this ’son’ is the prince I was talking about here . The child in Y. The act of touching her womb, accompanied by the fact that she’s weeping comes to sustain the idea of this separation. Taking a look at the lyrics, it’s clear she’s singing about love and the loss of it. The loss a mother suffers at birth, when her child is taken away from her (I should have kept you safe, hidden from approaching wolves – such an Alraune reference to me).
The images showing MO in the middle of the field have a deeper meaning. First of all, it all starts with a flashback of the white room in sever, the wardrobe doors opening and closing to be more precise. That flashback acts like a calling. It’s clearly a memory of the real and it’s there she wants to go back now because that would be the place from where her journey must continue. Yet to get in that place, she needs an exit.
The closest exit is represented by birds. As stated before, they are a sign of freedom and a sign of the outside world (just like in sever). MO is extending her arms, as if wanting to take her flight (Extend my arms into a misty light/Making my future path seem weightless) or as if waiting for birds to come sit on them (freedom to come to her, oh, what an easy way that would be!). I forgot who talked about it on the youtube board, but the idea was extremely interesting. That person said something like the fact that the clumps are a representation of her fears and she is now wearing the clump coat, MO herself becomes an object of fear, a scarecrow, reason for which the birds do not sit on her arms (freedom does not come to her), on the contrary, they spatter her with bird poop.
Of course, her arms extended remind us of the images in T and, if you want, the image of the current MO is the opposite of the T MO. While MO in T was covered in milk, a nourishing substance, and she was the queen of those lands, this MO is covered in bird poop and she looks pretty close to a homeless person, all dusty and stuff, haha!
Again, while acting like a scarecrow, she has flashbacks of familiar places, the forests in good worker/T. She appears to remember the other exit, a road she has once taken (has been drawn on in good worker) and now has to take back. Thus she begins her walk. Movement looks normal, it takes place from left to right and somewhat upwards. She MUST be heading towards subjective reality! Her walk is pretty confident too.
And that’s exactly where she’s going, because the next images show MO in a white room, similar to the one in sever. I take this is not her room, but the one in which CU was holding the doors of the wardrobe for the clump not to get out. She’s also wearing her sever outfit. This room is the one she initially wanted to reach and everything that happened in between sever and idle talk was part of the road.
It’s what’s in the wardrobe that she’s interested in. Whatever hides in there is something she fears herself, yet she seems strong enough to want to open that door. The lyrics accompanying these images are sang backwards and they say it’s the same, the same, the same which I think is very important. As she opens the door, sand pours in, and the movement she does with her feet is the exact twitch she does in T, underwater. Are we at the beginning of another road? It seems so, as MO steps inside, gets on her knees and starts to crawl into darkness, the door closing behind her. The wardrobe is a portal, a ‘dusty hole’, a time tunnel (remember the sandals in B, sand measuring time). Another way out of the white room, just like the clump she descended through in sever.
One day after idle talk was released, Coopmusicita tweeted this instagram picture accompanied by To be or… iamamiwhoami
I was saying at that time that the picture could be relevant IF the story still follows Alraune up to a certain extent.
The body of the prostitute, Alma Raune, was assigned for dissection since her relatives in Halberstadt raised no claims and refused to pay the cost of burial when they were notified. The Anatomy professor Holzberger used it in his lectures and assigned parts of it to each of his students to study. These certainly contributed vastly to their education except for the head, which had been given to senior medical student Fassman of the Hansea fraternity. He was supposed to prepare it as a finished skull but forgot it over vacation. He decided that he already had enough skulls and no longer needed to clean it. Instead he fashioned a beautiful dice cup out of the top of the skull. He already had five dice that had been made from the vertebrae of the executed murderer Noerrissen and now they needed a suitable dice cup.
Hence that would be the skull of the prostitute (; john). Of course… no idea how we’re gonna get to that, but anything is possible with iamamiwhoami, isn’t it?
Check out 2020k’s audio analysis of idle talk here.
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Play would be the right side – colored, uncontrollable, chaotic, sensual, passionate, boundless. In due order would be the left side – as the name itself says, always controlled, perfectly synched, a mathematician, very logical, linear, always categorizing things. It’s easy to detect images suggesting this. Everything is perfectly aligned, there’s great use of squared objects (windows, the ikea shelves), the choreography is balanced, movements are on 8 beats, what’s done in the first four is immediately balanced on the next four. The music follows a perfect order itself.
