Aside from a brief interlude in 1998 and 1999 when they were signed by major label Interscope Records, the band recorded for local label DeSoto Records. Their third record and breakthrough album, Emergency & I, was actually created during their time at Interscope; however, they were dropped from the label shortly after its completion, and thus took it back with them to DeSoto, where it wound up being released. The Ice of Boston EP is the only item of theirs Interscope actually released during their tenure there.
Following the massive underground success of Emergency & I, the band received an even higher profile after being invited to open for the European leg of Pearl Jam's 2000 tour. The band recorded and released a follow-up to Emergency & I, Change, in 2001 using the severance money they received from Interscope, and a subsequent co-headlining tour in 2002 with Death Cab for Cutie (cheekily called the "Death and Dismemberment Tour") also worked well to raise both bands' profiles and cross-pollinate their fanbases, as well as forge creative ties between several members.
Later that summer and fall, the Dismemberment Plan started to debut songs for their follow-up to Change. In 2002, the band put all the music tracks from their last two albums on their website, encouraging fans to remix the songs. The result was 2003's A People's History of the Dismemberment Plan. On January 19, 2003, however, the band announced on their website that they had decided to break up after a few tours that year. A final show was planned for July 28, 2003 in Washington D.C.'s famous outdoor show space, Fort Reno Park. However, come show-time, a heavy rain had driven off all but the most devoted fans, leading the band to add one more final show.
On September 1, 2003, the band closed out the first part of their career with a sold-out show at the renowned 9:30 Club. Following the split, Travis Morrison took the post-Change songs with him for further work, and released many of them on his first album, Travistan, in 2004. Jason Caddell worked with Morrison on Morrison's second album, All Y'all, which was released under the name Travis Morrison Hellfighters. Eric Axelson started a band called Maritime with former members of The Promise Ring; they released an album, Glass Floor, in 2004. Axelson subsequently left Maritime and joined the band Statehood in mid-2006 with Joe Easley until the tragic death of Clark Sabine in June 2009. The Dismemberment Plan itself even reunited for two shows to benefit Cal Robbins at the Black Cat in Washington, D.C. on April 29 and April 30, 2007. A full reunion still seemed unlikely, though, and on July 2, 2009, Travis Morrison announced his retirement from music, stating that there would be no more shows or bands.
In late 2010, however, the Dismemberment Plan announced that they would reunite for a full-scale tour in 2011 coinciding with Barsuk's vinyl reissue of Emergency & I. At the time, the band denied that they were planning a new record, but implied that one could be possible. By the time the tour was finished, the band played on Late Night with Jimmy Fallon, as well as three performances in Washington, D.C., the Pitchfork Music Festival, Philadelphia's Roots Picnic, and ten other dates.
The band reconvened once again in 2012 and played several small-venue shows in Baltimore, Maryland and Fredericksburg, Virginia, where they debuted eight new songs; a month later, Travis Morrison confirmed that they were working on a new record. On June 26, 2013, the band officially announced their fifth studio album (and first new record in 12 years), entitled Uncanney Valley. It was released via Partisan Records on October 15, 2013.
Pay for the Piano
The Dismemberment Plan Lyrics
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and everyone here I need your ear so be cool for a few
I feel a funny emotion, a negative notion
a tear in the air, an unseen stare, if I'm wrong then I'm wrong
what I say?
Senors and senoras -- they cannot ignore us --
we know that they know the score, it's there at the core --always been
while that could suffice I give these dreams up in hell -- ring a bell --
what I say?
Somebody's got to pay for the piano
Somebody's got to make sure we honor everyone
I know if we can forfeit all our sorrow, it may as well be us
People my people, supreme to my equal
say not a word I know you're tired so am I, I could cry
you know you knew it would be hard to play such a bad card
lower your guard to unseen harm 'cos you're scarred, I can see
and the people that need you say the couldn't read you
you plant 'em a seed they claim they loved all the weeds
so you flee -- what I say?
So people my people -- the cat in the steeple --
and everyone here I know your fear like a friend -- I contend --
commandos commandettes, it wasn't a sure bet
but nothing good was and what should or could be does what it can
It's a quiet and sad choice you hear in your own voice
I know what I'd like and I can't say anymore: Je t'adore
so break it down...
The Dismemberment Plan's "Pay for the Piano" is a complex meditation on the human need for recognition and meaning. The song's lyrics are a mix of cultural references, philosophical musings, and personal anecdotes that come together to create a powerful commentary on the state of humanity. The opening lines set the tone of the song, with lead singer Travis Morrison addressing "people" and "the cat in the steeple" directly, as if he is speaking to the entire world. He then goes on to describe a "negative emotion" that he feels, an intangible sense of something being wrong that he can't quite put his finger on. He acknowledges that he could be wrong, but the feeling lingers, casting a shadow over the rest of the song.
As the song progresses, Morrison delves deeper into this sense of unease, exploring the reasons behind it and the ways in which it affects us as a society. He talks about the knowledge that "senors and senoras" possess, and the fact that this knowledge is always present, lurking beneath the surface. He suggests that we have a choice to make: give up our dreams, or face the harsh reality of the world head-on. He implores his listeners to recognize that "somebody's got to pay for the piano," a metaphor for the cost of our actions and the need to take responsibility for them.
Line by Line Meaning
People my people -- the cat in the steeple --
Addressing a diverse group of people, acknowledging their presence and requesting their attention.
and everyone here I need your ear so be cool for a few
Asking for the audience's attention to a topic that concerns everyone for a few moments.
I feel a funny emotion, a negative notion
Describing a disturbed and negative emotion that they are now feeling.
a tear in the air, an unseen stare, if I'm wrong then I'm wrong
Trying to express something abstract and elusive that may be misunderstood even when not in the wrong.
Senors and senoras -- they cannot ignore us --
Referring to an older generation that may be out of touch and trying to point out their existence.
we know that they know the score, it's there at the core --always been
Acknowledging the fact that both parties understand each other's viewpoints but choosing to remain silent about it subconsciously.
and we could give it up all nice, or put it on cold ice
Mulling over the possibilities of continuing to ignore the issue or addressing it harshly.
while that could suffice I give these dreams up in hell -- ring a bell --
Referring to their dreams, which would be sacrificed if they ignore the issue or address it harshly.
what I say?
Asking for the opinion of the audience.
Somebody's got to pay for the piano
Using a metaphor to describe the need for accountability and responsibility regarding the issue at hand.
Somebody's got to make sure we honor everyone
Emphasizing the importance of honoring everyone's viewpoints and opinions, even if they may not agree.
I know if we can forfeit all our sorrow, it may as well be us
Acknowledging the difficulties in dealing with such an issue but offering their willingness to do so.
People my people, supreme to my equal
Addressing the group again and acknowledging their importance.
say not a word I know you're tired so am I, I could cry
Expressing their own emotions but acknowledging the fatigue of the audience.
you know you knew it would be hard to play such a bad card
Referring to the difficulties of dealing with such an issue and asking the audience to acknowledge that.
lower your guard to unseen harm 'cos you're scarred, I can see
Asking the audience to be vulnerable and open up to unseen potential harm while acknowledging their scars and emotional baggage.
and the people that need you say the couldn't read you
Referring to others who may have misunderstood the audience's standpoint but acknowledging their need for them.
you plant 'em a seed they claim they loved all the weeds
Describing others who may have latched onto a negative aspect while ignoring the positive, hopeful message.
so you flee -- what I say?
Describing the reaction to such negative feedback and asking the audience if they agree.
So people my people -- the cat in the steeple --
Addressing the audience once again, almost like a rallying cry.
and everyone here I know your fear like a friend -- I contend --
Acknowledging the audience's fears but insisting on moving forward and facing them head-on.
commandos commandettes, it wasn't a sure bet
Using military terms and emphasizing the difficulty and uncertainty of the situation.
but nothing good was and what should or could be does what it can
Reflecting on the reality that nothing is perfect but believing that everyone can try their best despite the imperfections.
It's a quiet and sad choice you hear in your own voice
Describing the difficulty of making a choice despite the sadness and quietness that surrounds it.
I know what I'd like and I can't say anymore: Je t'adore
Finishing off with a French phrase which translates to 'I adore you' and invoking positive emotions amidst such difficult topics.
so break it down...
Ending with a call to action and asking the audience to deliberate over the issue and find a solution.
Lyrics © O/B/O APRA AMCOS
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