No one understood him No one understood him at all (I understood him)
Inna keesta binhol stan istanna boshne bollabista bohlla inna bolstamist brumistavaston olgesty boshtenbolest estinna lostinmist motsnivolsha ozhgalah
No one comprehended No one comprehended at all
Brrrnigaiy moshdebazne bohldepebahdne voshnemahdne inmahnne bohzhdul mohnezhdevozht mohneshdepulcher ohbdestulul oshdne blol oshgala ohgevai olgevezh olgevezh
No one understood him No one understood him at all Veeshtehne krauden de vazh Veeshtehn lauden de taut
Hib blauud und mistdowht jumgaider destaht
Bistragavohhnt ... (he's shouting)... (repeats the first part?)... (then he shouts again, Ozhnaveeda?)
These lyrics are phonetic representations taken from a post on the Cloud Zero website and do not represent an official lyric release.
"Misunderstood genius is almost a proverb."
The Tower of Babel (Hebrew: מגדל בבל Migdal Bavel Arabic: برج بابل Burj Babil) according to chapter 11 of the Book of Genesis, was an enormous tower built at the city of Babel, the Hebrew name for Babylon (Akkadian Babilu). According to the biblical account, a united humanity, speaking a single language and migrating from the east, took part in the building after the Great Flood; Babel was also called the "beginning" of Nimrod's kingdom. The people decided their city should have a tower so immense that it would have "its top in the heavens."(וְרֹאשׁוֹ בַשָּׁמַיִם) However, the Tower of Babel was not built for the worship and praise of God, but was dedicated to the glory of man, with a motive of making a 'name' for the builders: "Then they said, 'Come, let us build ourselves a city, and a tower with its top in the heavens, and let us make a name for ourselves; otherwise we shall be scattered abroad upon the face of the whole earth.'" (Genesis 11:4). God, seeing what the people were doing, confounded their languages and scattered the people throughout the earth.
Many religious and mystical tales tell of times when conditions were perfect, universal, and in a state of grace. When these conditions change, their original state becomes a goal to reach, and a purpose for adherents. These perfect states may never be reached again with any permanence, but it is part of the evolution of the individual and their species to evolve by trying. Thus the art and science of translation in terms of language in the face of the above myth.
Language is usually a symbol set of visual or aural cues that attempt to communicate a thought, concept, or feeling from one person to another.
A fuller discussion on language:
The section on constructed languages is important, as it illustrates that language not only can evolve naturally, but that it's different aspects can be identified by creating more words that look at itself, and then an "artificial language" can be constructed. J.R.R. Tolkien was one such person who created constructed languages, and described himself as being a "phonaesthete". In other words, some sound combinations carried tasteful connotations and some distasteful to his ears.
Another person to have created his own language was Christian Vander of the French band Magma. His lyrics tell a myth of the Planet Kobaia, and so his language is that of the Kobaian people, and several complete works are sung entirely in this language. This is part and parcel of creating one's own world and culture, and was indicative of communal bands of the late sixties and early seventies that were finding their own original ways.
Magma is one of several bands that have left a lasting imprint on Edward Ka-Spel and various members of the Legendary Pink Dots. Edward's chanting in several pieces and during live shows, as well as songs like this one clearly show a Kobaian influence, though it does not seem to be a fully formed language. An homage might be the song title "Mekkanikk" from the album "Hallway of the Gods", referencing the Magma album "Mekanïk Destruktïw Kommandöh".
In order to get to some of the origins of language, one must go to a more primeval condition of vocalic sound than a fully formed language. This is the state of babies before they have learned to talk. It has connections with religious groups speaking in tongues. The art of jazz scat-singing has some relevance. Peter Gabriel has said that part of his process of getting in touch with the emotional resonance that lyrics must have to match well with the corresponding music is to chant more with sounds rather than words that hold preconceived meanings. He calls these sounds Gabrielese. Other artists such as Lisa Gerrard and Bjork also create pieces based on phonemes that may hold emotional resonance but not a constructed meaning. Terrance McKenna also illustrates this idea, here in a transcription of his Space Time Continuum video:
People may want to read some of the works of Robert Anton Wilson such as "Prometheus Rising", and "Coincidence", in which he breaks down the form of language into it's constituent phonemes and discovers meanings from new combinations of these. He then goes on to analyze dream speech and the works of James Joyce using these techniques.
Many of the phonemes in Edward-speak seem to have a slavic flair. Some of these are written down as one line "messages" on album sleeves. Some words are slightly altered versions of actual words, such as the album "Kollabaris" being a variation on the word "Collaborations". One line was simply backwards ("Intitupotnibadnif", which is "Find a Bin to Put It In", as in "We dare record stores to find one single category that truly describes all the music on this recording")
Sometimes it can be frustrating as an artist when you try to communicate with your audience, feeling you have something important to say and are doing your best to get it across and yet no apparent sign of understanding is forthcoming. You could feel as if you might as well be speaking an entirely different language. Why not write a song about it?