There was “High Time Amplifier” (again the star within the feminine object, now a figment he could see in her eye (solely existent in her perception, this after she’d just communicated this to Bono as the symbol that became metaphor in his lexicon for a feminine anointed), -in a song ending on the conjunction of boy meets girl). In addition there was “Devil’s Mouth”, after she’d just written a “trip” much like an exorcism where she’d divided herself in terms of cleaving her connected consciousness in terms of Billy if necessary, the devil she was trying to expiate at the moment. In the course of so doing she judged him in a way that was absolutely shredding, so she was hardly being kind at the moment; however she was beginning to feel secure that they’d survive it. Not to mention burning the dress she didn’t deserve, either due to her father’s condemnation, or perhaps even Billy himself.
There was “Metaphysical Pistol”, after the pattern of the severance had already been inadvertently alluded to in terms of Terence Trent D’Arby’s imagery in his “dream” as putting him in her sight, the scope reversed in “Goldeneye”. -And when she’d demonstrated to Billy how he’d segregated himself, she’d ended with the metaphor of “Bang. You’re dead.” She was done. And if that didn’t cut it, her mentality for the past eight months was ample enough; she’d been angry as hell.
Then there was the re-release of “The Witch” (being just the sort of mood she was in, having made such a proposal mentally). “It’s Over” proved particularly interesting because a piece of what seemed lyrical nonsense (a pig has eaten the truth, don’t you know) happened to catch her Chinese birth sign, being just that, as well as mentioning boots (that came back 'round, didn't it), which she’d put on in a dream she’d had about Martin and Depeche Mode, the interesting part being it was in this dream she took it upon herself to reveal everything to them for the first time and approached them because she was going to. This was the song that described, accurately, the fundamental shift that had taken place in terms of reality when she first intercepted the feedback loop successfully with Bono, by indicating how the interception had succeeded in demonstrating it was a transcendent reality (to someone else), because of the existent ability for life to get there faster than sound (i.e., intercept the feedback loop, if only just barely). This with the exhortation pleading not to announce it was over riposted with the expletive ridden affirmative at the conclusion, which had been her personal conflict ever since Bono decided not to do anything about it (she’d announced it was over to the wall). It had just doubled with Billy twice over, as she’d just written to him, “Bang. You’re Dead.”. So it was with especially aptitude that the rejoinder was sung repeatedly.
Then there was “El Che/Wild Like A Horse”, personifying in terms of her favourite animal. You can see why this would be comforting in the moment. When you’re using your soul to try and establish transcendent realities through collective awareness (in the plural), yours really isn’t like anyone else’s. "El Che" was a nickname for Che Guevara, (and the use is obviously deliberate), -however, as this song demonstrates, it is still being referenced in terms of a larger picture (with a presumably feminine object) in "Dark Energy".
And the title of the instrumental “Tyger” was a veiled reference to the compare and contrast of William Blake’s poem “The Tyger” (you know, the man of this quote, whence came “The Doors” –come full circle (well, almost)). In actuality these were lyrics, as they were intended to be sung, so a “Tyger” instrumental is a bit of a deliberate irony when the melody has been lost. Significantly its companion poem was “The Lamb”, their companionship meant to imply a certain duality. (This may very well have been the dualistic representation that inspired C.S. Lewis in his creation of Aslan.)
