旋律
歌曲有多麼清晰易記且符合明確音樂模式的旋律。通常,旋律分明的作品會擁有清晰易記的器樂或人聲主線。
原聲音質
此指標衡量一首歌曲在多大程度上依賴原聲樂器 (例如鋼琴、吉他、小提琴、鼓、薩克斯風),而非電子或數位合成音效
Valence
歌曲透過和聲與節奏所傳達的音樂積極性或情感基調。數值高通常對應快樂、興奮或愉悅感,數值低則與悲傷、憤怒或憂鬱相關。
節奏感
綜合了節拍穩定性、節奏型態與重拍強度等多重因素,以判定一首歌曲適合跳舞的程度。一首「節奏感強」的歌曲,通常具備穩定的速度、重複的音樂結構與明顯的強拍。
輕快
曲目的律動感可能受節奏快慢、音量起伏與聲譜密度所影響。較輕快的歌曲通常節奏強勁,編曲豐滿;反之,不太輕快的歌曲則可能編曲簡約、節奏較慢。
BPM69
積分
演出藝人
Spacetime Continuum
演出者
Terence McKenna
旁白
詞曲
Terence McKenna
作曲家
Jonah Sharp
作曲家
製作與工程團隊
Jonah Sharp
製作人
Naut Humon
剪輯師
歌詞
Hello
So, that was like an introduction
Now for some preaching to the choir on the subject of "How come it is that the further in you go, the bigger it gets?"
I remember the very first time I smoked DMT. It was sort of a benchmark, you might say. And I remember that this friend of mine (who always got there first) visited me with this little glass pipe and this stuff which looked like orange moth balls
And since I was a graduate of Dr. Hoffman's, I figured there were no surprises. So, the only question I asked was "How long does it last?". And he said, "Oh, about five minutes." So, I did it
And there was (uh) something like a flower, like a chrysanthemum in orange and yellow that was sort of spinning, spinning. And then, it was like I was pushed from behind, and I fell through the chrysanthemum into another place that didn't seem like a state of mind: it seemed like another place. And what was going on in this place—aside from the tastefully soffited, indirect lighting, and the crawling, geometric hallucinations along the dome walls—what was happening was that there were a lot of (uh) beings in there: a lot of what I call "self-transforming machine elves", sort of like jewelled basketballs, all dribbling their way toward me. And if they'd had faces they'd have been grinning; but, they didn't have faces. And they assured me that they loved me, and they told me not to be amazed; not to give way to astonishment. And so, I watched them even though I wondered if maybe I hadn't really done it this time
And what they were doing was they were making objects come into existence by singing them into existence—objects which looked like Fabergé eggs from Mars morphing themselves with Mandaean alphabetical structures. They looked like the concrescence of linguistic intentionality, but through a kind of hyperdimensional transform into three-dimensional space
And these little machines offered themselves to me; and I realized, when I looked at them, that if I could bring just one of these little trinkets back, nothing would ever be quite the same again. And I wondered, "Where am I? And what is going on?" And it occurred to me that these must be holographic viral projections from an autonomous continuum that was somehow intersecting my own's. And then I thought a more elegant explanation would be to take it at face value, and realize that I had broken into an ecology of souls, and that somehow I was getting a peek over the other side; somehow, I was finding out that thing that you cheerfully assume you can't find out; but, it felt like I was finding out
And it felt—And then I can't remember what it felt like, because the little self-transforming tykes interrupted me and said, "Don't think about it. Don't think about who we are, think about doing what we're doing. Do it. Do it now. Do it!"
Written by: Jonah Sharp, Terence McKenna

