The band released their second studio album on February 24, 2009 entitled Masterpiece Theatre.
It takes some real cojones to include the word 'Masterpiece' in your album title, but Josh Ramsay isn't too worried. "I suppose I could be digging myself into a hole calling the record Masterpiece Theatre," he chuckles, "but it's tongue-in-cheek. And I'm not the kind of person that people would assume as being an egomaniac. I hope not, anyway."
Given his feverish imagination and comprehensive musical gifts, Ramsay could probably get away with a little egomania. And with the release of Masterpiece Theatre, the frontman of Vancouver's Marianas Trench makes a iron-clad case for a prodigious set of talents - both his own and those of his bandmates, guitarist Matt Webb, bassist Mike Ayley, and drummer Ian Casselman.
Marianas Trench had already elevated itself above the rest of the pack with a 2006 debut, Fix Me, that showcased a knack for colouring outside the lines of factory-issue millenial punk, shrewdly-built pop, and super-adrenalized modern rock. The single and in particular the video "Shake Tramp" was enough to demonstrate these qualities, coupled with Ramsay's uninhibited urge to be the complete song-and-dance man.
But with both the industry and the fans beating down the door for a quick second album, the Trench decided to put on the brakes. "All of a sudden you have six months to do your next record," Ramsay sighs. "So I really had to just put my foot down and say, 'No, I need the time to do this.' I was not interested in putting something out for the sake of putting something out."
Two years later, Marianas Trench has re-emerged with Masterpiece Theatre. And not surprisingly, it's a work of soaring ambition and decisive technical prowess – that easily might not have happened. "It's one thing when you're Chad Kroeger and you just finished writing 'How You Remind Me'," Ramsay states. "I didn't have some mega-platinum song to back up my argument with, so I was lucky that the band and the label trusted me enough to do it."
By "it", Ramsay means he was allowed to indulge a high-concept fantasy for the band's sophomore album, which is built, for starters, around a song called "Masterpiece Theatre". Adopting Brian Wilson's notion of the 'pocket symphony' and then running with it, the three distinct versions of “Masterpiece Theatre” dotted across the record feature an almost perfect balance between the vocal theatrics of Queen and the more hymnal qualities of the Beach Boys.
By the time “Masterpiece Theatre” is reprised for a final, climactic time, every other song on the album is quoted and incorporated into an intricately constructed dramatic revue that swings from pristine pop, to propulsive riff rock, to quasi-doo wop, to robotic new wave, and finally into a wholly satisfying thematic payoff.
"You know in the climax of a musical, there's always that medley at the end, and I thought that would be cool on a rock record," explains Ramsay, "but it turned out to be a lot harder than I thought it would be. I wrote it in the studio as we recorded it, and it took about three weeks."
After a beat, he adds, "But really it took me two years because it draws from all the songs on the whole album."
Bassist Mike Ayley readily admits, "I don't think any of the three ‘Masterpiece Theatre’ songs could have gone on Fix Me had they been written at the time. ‘Masterpiece’ 2 and 3 in particular are amazing songs that really explore the potential of Josh's writing. You really have to hear them to get it. It's like trying to explain ‘Bohemian Rhapsody’ to somebody who has only heard Kanye West and Katy Perry."
Ramsay agrees. "I really wanted to have a 'Good Vibrations'/'Bohemian Rhapsody’ style song on the first record,” he says, “but I don't think I was a mature enough writer to have written it yet, and I still feel like I was in over-my-head when we did this one, and I just barely made it."
Ramsay is unnecessarily modest; the whole of Masterpiece Theatre demonstrates a startling compositional maturity compared to the Marianas Trench of two years ago.
"Beside You" is a panoramic exercise in big emotions, with a dash of the Dream Academy's "Life In a Northern Town”. "Acadia" begins with a clipped, bright acoustic guitar, and blossoms into something like the Who reconsidered by U2, reimagined for the net generation. In the crunchy "All to Myself", the power ballad "Lover Dearest", and the strident "Good to You" (in which he duets with Kate Voegele), Ramsay pulls out the kind of honeyed vocals more attuned to modern RnB than white, adolescent rock.
"I always had that aspect in my voice but the first record just didn't have songs that were conducive to me singing that way," he states. "I think it's from growing up listening to a lot of Michael Jackson. With these songs, it made sense to stretch out a little more."
On "Cross My Heart" and "Celebrity Status", the band conjures up a kind of perfect pop crossover. Producer Dave 'Rave' Ogilvie was responsible for the latter track, which cops a move he used on Marilyn Manson's "Beautiful People" with three drummers (Casselman, Ramsay and Shane Wilson) playing at once - much to Ramsay's delight. "He's just worked with so many great artists which makes his well of tricks and ideas so vast," he says.
True to Ramsay's quest for "more diversity on this album" - not to mention the indulgence of his record label - Rave was just one of four prominent guest producers eventually roped into Masterpiece Theatre. Their collective resume includes Nine Inch Nails, Sum 41, Iggy Pop, Avril Lavigne, and Hedley among others.
"I feel really fortunate to have worked with all those guys," Ramsay says, "coz they all bring really unique things. Dave Genn and I have a really good working relationship with each other, and he has such a unique style with arrangement and stuff. Greig Nori was a really pleasant surprise. As far as I can tell, he wanted to work with us because he liked our video. The whole time he was just trying to get me to dance around like an idiot. And Raine Maida, man? Raine's a trip!"
Bassist Ayley also credits Maida for encouraging the band to “find a personality-identity that wasn't as evident when we started the production process," while also praising Ramsay for his production efforts. Ramsay took charge of four songs on the finished record. “Josh is really about capturing the emotion and power which isn't surprising considering all the feeling in the writing,” he says.
Oddly enough, Ramsay also wanted Disney's in-house genius Alan (Little Mermaid) Mencken to twiddle the knobs for the climactic version of "Masterpiece Theatre", but admits, "it's a pretty tall order to get an Academy Award winner to come and work on your record."
Still, the album is certainly not diminished by the few things Ramsay didn't get. And once the world gets a load of this Masterpiece, Mencken, Pharrell Williams, Phil Spector... you name it. They'll probably be lining up.
Burning Up
Marianas Trench Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
With a foot in grave
One thing that you missed though
Baby I'm new wave
Is it bad enough? Is it bad enough to call it off?
Let's turn up the heat, we gotta get back up
One minute you need me and the next we're stuck
Is it bad enough is it bad enough to call it off
Oh who you are? What you do?
What you need? What's the use?
Hold me now
I can't help but want you too
Don't say you don't miss me that much
Don't say I don't still make you blush
'Cause my ears are burning, my ears are burning up
Sometimes you can't yell loud enough
Sometimes a whisper's just too much
My ears are burning, my ears are burning up
Too hot to handle gotta like it rough
Too much of a scandal when the going gets tough
Is it bad enough? Is it bad enough to call it off?
Just came into your window only gets the scene
Just want a crescendo and a killer queen
Since when's that bad enough to call it off?
Oh, who you are? What you do?
What you need? What's the use?
Hold me now
I can't help but want you too
Don't say you don't miss me that much
Don't say I don't still make you blush
'Cause my ears are burning, my ears are burning up
Sometimes you can't yell loud enough
Sometimes a whisper's just too much
My ears are burning, my ears are burning up
What you are, what you do
What you need? Whats the use?
Hold me now
I can't help but want you too
Don't say you don't miss me that much
Don't say I don't still make you blush (Don't ya)
'Cause my ears are burning, my ears are burning up (Don't ya)
Sometimes you can't yell loud enough (Don't ya)
Sometimes a whispers too much (Don't ya)
My ears are burning, my ears are burning up
Don't say you don't miss me that much
Don't say I don't still make you blush
'Cause my ears are burning, my ears are burning up
Sometimes you can't yell loud enough
Sometimes a whispers just too much
My ears are burning, my ears are burning up
The lyrics of Marianas Trench's song "Burning Up" tell a story of a turbulent relationship that is both intense and passionate. The opening lines, "Been dead as a disco, with a foot in the grave," suggest that the relationship has lost its spark and is on the verge of ending. However, the singer expresses that they are "new wave," implying that they are ready for a change and eager to reignite the flame.
The chorus reveals the conflicting emotions and uncertain nature of the relationship. The singer questions if the situation has reached a point where it is "bad enough to call it off," while also acknowledging their desire to turn up the heat and get things back on track. This back-and-forth is emphasized by the lines, "One minute you need me, and the next we're stuck." The lyrics convey a sense of frustration, mixed with longing and the hope for a breakthrough.
The bridge shifts the perspective to the other person in the relationship, questioning who they are and what they truly want. The singer craves intimacy and connection, pleading for the other person to admit that they still miss and desire them. The repeated line, "My ears are burning, my ears are burning up," signifies the overwhelming emotions and sensations experienced in this tumultuous relationship.
Overall, "Burning Up" explores the complexities of a relationship on the verge of falling apart, with both parties unsure whether to let go or fight to keep the connection alive. It captures the intense emotions, doubts, and desires that exist within such a dynamic.
Line by Line Meaning
Been dead as a disco
I have been feeling lifeless and stagnant, like the energy of a disco party that has long passed.
With a foot in grave
I feel trapped and on the verge of destruction or failure, with one foot already in the grave.
One thing that you missed though
There is one important aspect that you failed to recognize or acknowledge.
Baby I'm new wave
I am a fresh and innovative force that breaks away from traditional norms and expectations.
Is it bad enough? Is it bad enough to call it off?
Are the current circumstances severe enough and unbearable, to the point of considering ending our relationship?
Let's turn up the heat, we gotta get back up
We need to intensify our efforts and reignite the passion in order to revive our connection.
One minute you need me and the next we're stuck
You alternate between relying on me and feeling trapped in our situation, creating inconsistency and confusion.
Oh who you are? What you do? What you need? What's the use?
I am curious about your identity, actions, desires, and whether there is any purpose or benefit to our relationship.
Hold me now, I can't help but want you too
In spite of everything, I still crave your presence and affection, and I long for you to hold me.
Don't say you don't miss me that much
Please don't deny the fact that you still have strong feelings of longing and nostalgia for me.
Don't say I don't still make you blush
Don't pretend that I no longer have the ability to make you feel embarrassed or bashful.
'Cause my ears are burning, my ears are burning up
I am acutely aware of the conversations and comments being made about me, and they are causing me distress or discomfort.
Sometimes you can't yell loud enough
At times, expressing your emotions with a loud and impassioned voice is not sufficient to convey the depth of your feelings.
Sometimes a whisper's just too much
In certain situations, even a gentle and subtle expression of emotions can feel overwhelming or excessive.
Too hot to handle gotta like it rough
Our relationship is intense and challenging, but that makes it more appealing and exciting, as we enjoy the thrill of the ride.
Too much of a scandal when the going gets tough
When faced with difficult times or obstacles, our relationship tends to attract excessive attention and causes controversy or disapproval.
Just came into your window only gets the scene
I recently entered your life and only got a glimpse of the situation or context in which you exist.
Just want a crescendo and a killer queen
I desire a climactic moment of intensity and a partner who reigns supreme and captivates me completely.
Since when's that bad enough to call it off?
Why would these desires or aspirations be considered significant or detrimental enough to end our relationship?
Lyrics © O/B/O APRA AMCOS
Lyrics Licensed & Provided by LyricFind
Bella Bloodstar

   
"Burning Up" lyrics
Marianas Trench Lyrics
Track "Marianas Trench"
on Bandsintown
"Burning Up"
Been dead as a disco
With a foot in grave
One thing that you missed though
Baby I'm new wave
Is it bad enough, is it bad enough to call it off?
Let's turn up the heat we gotta get back up
One minute you need me and the next we're stuck
Is it bad enough, is it bad enough to call it off?
Oh, who you are, what you do,
What you need, what's the use?
Hold me now
I can't help but want you too
Don't say you don't miss me that much
Don't say I don't still make you blush
Cause my ears are burning, my ears are burning up
Sometimes you can't yell loud enough
Sometimes a whisper's just too much
Now my ears are burning, my ears are burning up
Too hot to handle gotta like it rough
Too much of a scandal when the going gets tough
Is it bad enough, is it bad enough to call it off?
This diminuendo, only gets obscene
I just want a crescendo and a killer queen
Since when's that bad enough to call it off?
Oh who you are, what you do,
What you need, what's the use?
Hold me now
I can't help but want you too
Don't say you don't miss me that much
Don't say I don't still make you blush
Cause my ears are burning, my ears are burning up
Sometimes you can't yell loud enough
Sometimes a whisper's just too much
Now my ears are burning, my ears are burning up
Who you are, what you do,
What you need, what's the use?
Hold me now
I can't help but want you too
(Can't help but want you)
Don't say you don't miss me that much
(Don't ya)
Don't say I don't still make you blush
(Don't ya)
Cause my ears are burning my ears are burning up
(Don't ya)
Sometimes you can't yell loud enough
(Don't ya)
Sometimes a whisper's too much
(Don't ya)
My ears are burning, my ears are burning up
Don't say you don't miss me that much
Don't say I don't still make you blush
Cause my ears are burning, my ears are burning up
Sometimes you can't yell loud enough
Sometimes a whisper's too much
My ears are burning, my ears are burning, burning up
indibindylou
My absolute favourite song on the album! I love that it sounds different to the rest of the album, and I also appreciate the Queen reference ("killer queen" with the slide up).
Johnson Byard
This song always makes me want to dance luv the 80s music
Jay
Man this is getting me excited for my car drive tonight :)
Michie Gee
Favourite song from Astoria
perry
ikr why wasnt this the first single or even a single, so goes for yesterday
Victoria England
Michon Gauthier mine is ONE LOVE!!!!!
Sid Lowery
This music was introduced to me by my first love and it genuinely saved my life along with MCR. Idc about ratings, this is the best music for teen angst 😂
Linda Charlebois
I honestly love this song!! (I'm proud to be a trencher
Doggo Doggo
Dunno why it's so long after the album first released,but I'm not mad
Callipygianes
My favorite song 💜