Tag Archives: music

Welcome, music

In the interest of living a less-divided creative life, I’ll now provide updates and information related to my musical work — including the GODHEADSCOPE and Cindervoice projects — via matthewsrosin.com and associated social media.

My writing and musical lives have never been alien from each other in practice, as the “Poetry/Lyrics” feature on this blog attests. Now, all of my creative output will be represented in one place.

To celebrate, here’s “Dusk On Glass,” from GODHEADSCOPE’s 2007 album, A City Out of Sight.

The Screaming Mound

Do not speak falsely. 

Brutal honesty: 
far better a crime 

than your silence 

Your tongue 

the bottom of your mouth. 

Words wait. 

Tongues are cut out. 

Tongues rise high— 
lash the ground. 

Place your tongue atop 
the screaming mound.

About the poem:

“The Screaming Mound” contains some of the most jarring imagery I’ve ever employed in a lyrical context. The issue at the poem’s core  —  complicity in atrocity through silence — demanded a strident metaphor.

But sadly, I no longer remember what prompted the poem.

I think this is because the poem itself chooses a kind of silence and complicity. By operating exclusively through metaphor — however striking — without so much as an epigraph to clarify the poem’s real-world context and origin, the pain of the particular is silenced.

So, too, is memory.

Forget To Grieve

I still lie on my side of the bed. 
The dog still curls 
in the place she curled 
when she curled behind your legs. 

Her ears stand up at every sound and 
my heart leaps to meet you. 

I am aching for the day 
I forget to grieve. 

The column of moonlight 
from the window over the bed 
illuminates every speck of dust; 
every memory overhead. 

Every moment I think of you 
is a moment I won’t sleep. 

I am aching for the day 
I forget to grieve. 

I still lie on my side of the bed. 
The dog still curls 
in the place she curled 
when she curled behind your legs. 

You were the reason I looked ahead. 
Now the future haunts my dreams. 

I am aching for the day 
I forget to grieve.

About the poem:

I just released a new single, “Forget To Grieve,” via my Cindervoice musical persona.

The poem imagines a nightmare scenario of personal loss — one that, thankfully, I’ve not experienced.

Still, the poem intimidated me, so intimate are its small details. Part of me wanted to shelve the song.

But those small details held me to account. Especially these:

The dog still curls
in the place she curled
when she curled behind your legs.

When a lyric like that graces your pen, you must be stronger than your fear. You must follow where the words lead and hit “record.”

I’m glad I did.

Medusa In the Cistern

How long
can you hold your breath?

Two minutes?
Two thousand years?

The city sits upon your neck:

snakes, so still,

upside down
in drinking water,

saliva now a nutrient

feeding grand machines;
modern industry

past your memory.

Quaint, unthreatening
fragment of nostalgia
that you are.


as you are.

About the poem:

In early 2007, I saw the pilot episode of a now-cancelled American documentary series, Cities of the Underworld. The series led viewers through the subterranean environments that exist beneath various cities and other locations.

That first episode focused on the world beneath Istanbul, Turkey — including the Basilica Cistern (Yerebatan Sarnıcı), built during the 6th century by Byzantine Emperor Justinian. There, in one corner of the cistern, two giant Medusa heads rest, recycled as bases for two columns.

The image of Medusa, submerged in a cistern while time, myth, and civilization passed her by, struck a chord in me. “Medusa In the Cistern” followed.

The poem transformed rhythmically when set to music. The words became a rapid incantation, repeated several times, mirroring the rush of civilization above ground. This is not at all how I would read the text aloud as a poem. But as lyrics in a musical context, I can’t imagine the words any other way.

Pass Not That Way Again

"Where one can no longer love, 
there one should pass by." 
Though memory aches for former shapes, 
pass not that way again. 

Human curves and fingerprints 
should not be cast in corners. 
The huddled form is not for you. 
Pass not that way again. 

Where surprise has fallen mute, 
there no gods will grow. 
Those spirits have all lost their breath. 
Release their spent air from your lungs. 

Fever dreams too tightly held 
deserve only your tears. 
Lay to ground their will to death. 
Pass not that way again. 

Steps ahead, voices resound 
that beckon us to being, 
forgive us our misshapen pasts, 
and welcome us in changing. 

"Where one can no longer love, 
there one should pass by." 
Though memory turns to clasp cold lips, 
pass not that way again.

About the poem:

“Pass Not That Way Again” was used as lyrics on track #9 of Before the Turn, part of my Cindervoice musical project.

The poem is a hymn-like meditation on leaving behind patterns, vices, and relationships that do you harm, and finding better community elsewhere.

I think it’s an honest poem in that it acknowledges:

  • The feeling of loss and the allure of return that accompany any serious attempt to change one’s life for the better; and
  • That forgiveness and redefining one’s life can be achieved only in the company of others.

The quote, which provided the initial spark for the poem, comes from Walter Kaufmann’s English translation of Friedrich Nietzsche’s Also sprach Zarathustra (or Thus Spoke Zarathustra).

Here’s how the poem translated into music: