“Steve's been a big influence on a lot of my decisions about song writing and direction over the last few years” Barnes says. “I don't think I had fully realised the importance of a good melody until I started spending more time listening to music with him. We started passing basement demos back and forth between us, and it was his arrangement for the choir part at the end of ‘Sing to God' that made me and the other guys in my band realise we needed to dramatically up our game.”
Disorientating and captivating in equal measure during early appearances in Student Union bars and basement venues either side of the Pennines, as well as at European festivals Melt and Reeperbahn, the Leeds-based artist’s early performances took on the guise of a man vs. machine solo rock opera. Songs were constructed on stage as he writhed about on his stool like Silver Apples on uppers - the transmissions from his web of loop pedals, keyboards, pads and samplers seemingly coursing through his body’s contortions. More Stately Mansions hasn’t changed the process much, it’s just that – as he puts it – “the extra pairs of hands aren’t channels on a loopstation or sample libraries anymore, they’re owned by other people with their own ideas.”
Mostly recorded at Chapel Studios in Lincolnshire, with vocals put down in an isolated cottage in the middle of Wales, More Stately Mansions deals with unashamedly bold brush strokes. Songs like ‘Sing To God’s’ gossamer strings strike delicately amidst rumbling percussion and several moments of histrionic guitar malevolence that recall those aforementioned teenage influences; the title track’s layered vocals hark back to Queen in their mid-70’s pomp, while ‘Macbeth, Macbeth, Macbeth’ rises and falls on a series of scything post-hardcore riff acrobatics.
“I've never really been interested in stuff that just stays on a level and sits in the background,” Barnes admits. “I like music that really commands your attention and listening, and for me that's very rarely music that doesn't have a sense of width to it. I'm never happy with the idea of just doing the verse part again and then the chorus part again and cracking on with the next song. I always want to explore the ways in which things can continually build and then be knocked down.”
All of this is cut through with a climactic vocal that bores out vestiges of Jeff Buckley, or even Freddie Mercury, delivered with an overwhelming sincerity that goads its audience out of apathy and into a reaction, an expressive way of performing that Barnes has embraced since childhood. “I remember being seven years old and hearing the first few bars of 'It's a Hard Life' by Queen and being completely blown away by how Freddie Mercury's voice holding those huge, intense notes made me feel. I’ve certainly had an aversion to the trend of singers who would heavily manner their voice to sound unique or idiosyncratic too; I’ve always found it incredibly powerful when a human voice is creating the emotional drive in a piece of music.”
House
Charlie Barnes Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
The lyrics to Charlie Barnes's song "House" paint a picture of a tired and worn-down house, with the singer feeling burdened and haunted by the weight of their family's past. The opening line "This old house has got me tired so very tired" sets the tone for the rest of the song, which explores themes of exhaustion, darkness, and the struggle to overcome the sins of the past.
The line "Dark descends by habit over reddening eyes" suggests a sense of weariness and resignation, as if the singer has become so accustomed to their struggles that they can no longer see a way out. The lyrics then pose a haunting question: "Did I die in my dreams last night?" This line could be interpreted in a number of ways - as a literal expression of fear, as a metaphor for feeling lost or disconnected, or as a reference to the idea that our dreams can sometimes offer us glimpses into the afterlife.
The final verse brings the song's themes full circle, with the singer acknowledging that their family is fractured and haunted by "heartless sins unknown". Despite this, they remain hopeful, recognizing that through the struggles of life, they may yet find a way to unite and overcome.
Line by Line Meaning
This old house has got me tired so very tired.
The singer is exhausted and drained, possibly from the negative energy of the house.
Dark descends by habit over reddening eyes
The darkness of night seems to always bring a feeling of sadness or unease to the singer's eyes.
Did I die in my dreams last night?
The singer is questioning whether their dreams signify a metaphorical death or a rebirth.
May bones below this family's throne our fractured home unite
The idea of bringing together the fractured household and family history is symbolized through the bones below the house, which have potential to bring unity.
Mother forgive our heartless sins unknown
The artist seems to be seeking forgiveness of past sins or transgressions, specifically those that have negatively affected their family dynamics.
Through horrors such as this we struggle so.
The singer acknowledges that difficult experiences, such as their current living situation, are what define and shape them.
Dust collecting underneath my fingertips.
The house is seemingly falling apart and neglected; the singer is aware of the accumulated dirt and grime in the house.
An open window brings a cold you cannot lift
The artist is unable to escape the chilling atmosphere of the house, even with a window open.
Did I die in my dreams last night?
The artist is again questioning the significance and meaning of their dreams.
A length of rope could hang us both or help us scale great heights.
The rope could either provide a solution or solve the struggles of the household, or it could cause harm and bring more difficulty.
Mother forgive our heartless sins unknown
Again, the singer seeks forgiveness for past transgressions that may have negatively impacted their family.
Through horrors such as this we struggle so.
The artist acknowledges that difficult experiences, such as their current living situation, define and shape them.
Lyrics © RESERVOIR MEDIA MANAGEMENT INC
Written by: CHARLIE BARNES
Lyrics Licensed & Provided by LyricFind