![]() Pierce croons, “I will love you ‘til I die. Synths kind of warble through the chorus like flaming meteors throttling to Earth. The song’s various melodic moving parts swell to a resounding and quite resilient climax. The Presley estate eventually allowed the use of “Fools Rush In” on the 2009 reissue which has now become THE version to listen to. The only caveat was that they had to add the parenthetical (I Can’t Help Falling In Love) to the already lengthy title. It has only been redeemed over time with its cult status among stoners and general lonely-hearts like me. ![]() It wasn’t even the most popular song on the album, an album which, by the way, failed to reach the commercial success of the band’s peers like Radiohead and The Verve. They threatened to sue, which now seems juvenile and impulsive as the song wasn’t exactly a chart-topper. The song had to be heavily edited upon the album’s initial release, due to the Presley estate’s general lack of artistic good will. Imagine a kind of sad, indie version of Kanye’s juxtaposition of “21 st Century Schizoid Man” in his song “Power.” Only imagine if he rapped directly over that sample. It’s the kind of pairing of two seemingly unrelated pieces of music that we normally attribute to the genius of hip hop producers and DJs. It’s stunning how well those melodies coalesce. Elvis Presley’s “Only Fools Rush In” is sampled within its other hook. The song evolves into a fascinating and powerful juxtaposition of the above melody with another, more familiar melody. But the song’s lo-fi, spaced out dreaminess suggests a more powerless reality. His honesty in admitting his loneliness will, ideally, pale in comparison to his resilience. A giant step each day.” What begins as a melancholy bout of self-pity transforms into a self-affirmation. Like a little mantra that has been stuck in his head. It’s intimate and personal, yet sort of quaint. Jason Pierce’s soft, vulnerable voice chants, “All I want in life’s a little bit of love to take the pain away.” He sings it with the kind of breezy tenor of a schoolboy. A resounding, expansive kick drum keeps it in pace and a thick vortex of cosmic atmosphere begins their ascent to crescendo. An otherworldly chord progression takes shape with Kate Radley’s keys. The idea to invoke the astronautical theme right away helps to characterize the song’s growing instrumentation. The song’s transition into its central melody is slow and steady. ![]() All those worries you’ve been hanging on to don’t matter. Something along the lines of: “You can all relax. She very calmly, almost seductively informs the passengers that they are all “floating in space.” It feels more like a comforting reassurance rather than a desperate warning. It is stylized as a hostess’ intercom announcement but replaces an airplane with a spaceship. A suitably lo-fi, achingly distant recording of a female voice opens the track with the song title’s elegiac declaration. The titular track from their now legendary 1997 album Ladies and Gentlemen We Are Floating In Space, wastes no time in declaring its thesis. But Spiritualized were never your mother’s atmospheric shoegaze/dream pop/post rock crossover. This week we look at Spiritualized’s 1997 song about love and loneliness, which spurned a lawsuit from Elvis Presley’s estate.įew bands begin an album by announcing themselves so candidly. By Noah Dimitrie 0 “Ladies and Gentlemen We Are Floating in Space” by Spiritualized Is Our Classic Track of the WeekĪnother week, another classic track review.
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