Succexy

Metric

Transposer:

[Verse 1] Lonesome for no one when The room was empty And war as we knew it was obsolete Nothing could beat complete denial [Pre-Chorus] All we do is talk sit switch screens As the homeland plans enemies All we do is talk static split-screens As the homeland plans enemies [Chorus] Invasion’s e|----------------------------------------------------------------------------------| B|----------------------------------------------------------------------------------| G|--6--4-4--6-6--4-4--6-6--4-4--6-6--4-4--6-6--4-4--6-6--4-4--6-6-------------------| D|-----------------------------------------------------------------4-4-4--4---4--4--| A|----------------------------------------------------------------------------------| E|----------------------------------------------------------------------------------| so succexy so succexy Invasion’s e|----------------------------------------------------------------------------------| B|----------------------------------------------------------------------------------| G|--6--4-4--6-6--4-4--6-6--4-4--6-6--4-4--6-6--4-4--6-6--4-4--6-6-------------------| D|-----------------------------------------------------------------4-4-4--4---4--4--| A|----------------------------------------------------------------------------------| E|----------------------------------------------------------------------------------| so succexy so succexy [Verse 2] Let’s drink to the military The glass is empty Faces to fill and cars to feed Nothing could beat complete denial [Pre-Chorus] All we do is talk sit switch screens As the homeland plans enemies All we do is talk static split-screens As the homeland plans enemies [Chorus] Invasion’s e|----------------------------------------------------------------------------------| B|----------------------------------------------------------------------------------| G|--6--4-4--6-6--4-4--6-6--4-4--6-6--4-4--6-6--4-4--6-6--4-4--6-6-------------------| D|-----------------------------------------------------------------4-4-4--4---4--4--| A|----------------------------------------------------------------------------------| E|----------------------------------------------------------------------------------| so succexy so succexy so succexy Invasion’s (so succexy) e|----------------------------------------------------------------------------------| B|----------------------------------------------------------------------------------| G|--6--4-4--6-6--4-4--6-6--4-4--6-6--4-4--6-6--4-4--6-6--4-4--6-6-------------------| D|-----------------------------------------------------------------4-4-4--4---4--4--| A|----------------------------------------------------------------------------------| E|----------------------------------------------------------------------------------| so succexy so succexy so succexy Invasion’s (so succexy) e|----------------------------------------------------------------------------------| B|----------------------------------------------------------------------------------| G|--6--4-4--6-6--4-4--6-6--4-4--6-6--4-4--6-6--4-4--6-6--4-4--6-6-------------------| D|-----------------------------------------------------------------4-4-4--4---4-----| A|----------------------------------------------------------------------------------| E|----------------------------------------------------------------------------------| so succexy so succexy so succexy Invasion’s (so succexy) e|----------------------------------------------------------------------------------| B|----------------------------------------------------------------------------------| G|--6--4-4--6-6--4-4--6-6--4-4--6-6--4-4--6-6--4-4--6-6--4-4--6---------------------| D|---------------------------------------------------------------4------------------| A|----------------------------------------------------------------------------------| E|----------------------------------------------------------------------------------| so succexy so succexy so succexy [Bridge] Passive attraction programmed reaction Passive attraction programmed reaction Action distraction more information Flesh saturation lips on a napkin e|----------------------------------------| B|--------------------10-10--9-12-10--9---| G|--------------------11-11-11-11-11-11---| D|----------------------------------------| A|----------------------------------------| E|----------------------------------------| Ass ass ass e|-----------------------------------------------| B|--7-7------------9-9-------10-10--9-12-10--9---| G|--7-7------------9-9-------11-11-11-11-11-11---| D|-----------------------------------------------| A|-----------------------------------------------| E|-----------------------------------------------| Where does the time go? We’re waking up so e|-----------------------------------------------| B|--7-7------------9-9-------10-10--9-12-10--9---| G|--7-7------------9-9-------11-11-11-11-11-11---| D|-----------------------------------------------| A|-----------------------------------------------| E|-----------------------------------------------| slowly Days are horizontal lately e|-----------------------------------------------| B|--7-7------------9-9-------10-10--9-12-10--9---| G|--7-7------------9-9-------11-11-11-11-11-11---| D|-----------------------------------------------| A|-----------------------------------------------| E|-----------------------------------------------| Out of body watched from e|-----------------------------------------------| B|--7-7------------9-9-------10-10--9-12-10--9---| G|--7-7------------9-9-------11-11-11-11-11-11---| D|-----------------------------------------------| A|-----------------------------------------------| E|-----------------------------------------------| above Out of body watched from e|-----------------------------------------------| B|--7-7------------9-9-------10-10--10--9-10--9--| G|--7-7------------9-9-------11-11--11-11-11-11--| D|-----------------------------------------------| A|-----------------------------------------------| E|-----------------------------------------------| above e|--7-7------------9-9--------9--9--9--9--9--9---| B|--7-7------------9-9-------10-10--9-12-10--9---| G|--7-7------------9-9-------11-11-11-11-11-11---| D|-----------------------------------------------| A|-----------------------------------------------| E|-----------------------------------------------| Passive attraction programmed reaction e|--7-7------------9-9--------9--9--9--9--9--9---| B|--7-7------------9-9-------10-10--9-12-10--9---| G|--7-7------------9-9-------11-11-11-11-11-11---| D|-----------------------------------------------| A|-----------------------------------------------| E|-----------------------------------------------| More information cash masturbation e|--7-7------------9-9--------9--9--9--9--9--9---| B|--7-7------------9-9-------10-10--9-12-10--9---| G|--7-7------------9-9-------11-11-11-11-11-11---| D|-----------------------------------------------| A|-----------------------------------------------| E|-----------------------------------------------| Follow the pattern - the hemlines the headlines e|--7-7------------7-7--------9--9----9---9---9--| B|--7-7------------9-9--------9-10---10--10--10--| G|--7-7------------9-9-------11-11---11--11--11--| D|---------------------------11-11---11--11--11--| A|----------------------------9--9----9---9---9--| E|-----------------------------------------------| Action distraction faster than fashion e|--9--9----9---9---9------9--9----9---9----9--| B|--9-10---10--10--10-----10-10---10--10---10--| G|-11-11---11--11--11-----11-11---11--11---11--| D|-11-11---11--11--11-----11-11---11--11---11--| A|--9--9----9---9---9------9--9----9---9----9--| E|---------------------------------------------| Faster than fashion faster than fashion [Outro] Lonesome for no one when The room was empty And war as we knew it was obsolete Nothing could beat denial

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La chanson évoque un sentiment de solitude et d'aliénation dans un monde où la communication se réduit à des échanges superficiels. Elle dépeint une réalité où les gens semblent engoncés dans un déni collectif, ignorant la complexité des conflits qui les entourent. Les paroles parlent d'une société obsédée par les images et la consommation, célébrant une sorte de désespoir accablant. Le contexte se révèle particulièrement pertinent dans notre ère numérique, où les interactions réelles sont souvent remplacées par des écrans, créant une distance émotionnelle entre individus. Ce tableau souligne les dangers d'une désensibilisation face aux problèmes majeurs qui nous touchent tous, tout en faisant référence à une forme de résistance face à la réalité.

Le Chansonnier