<… Read Full Bio ↴The Long Winters is an American indie rock band based in Seattle, USA.
Singer-songwriter John Roderick was born in Seattle, Washington, and moved to Anchorage, Alaska, during his elementary school years. He later returned to Seattle and formed both Bun Family Players and The Western State Hurricanes. Following the collapse of the latter, he acted as touring keyboardist for Harvey Danger.
In 2001, Harvey Danger singer/songwriter Sean Nelson suggested that he and Roderick record an album, with half of the songs penned by John and the other half by Sean. Death Cab for Cutie band member Chris Walla had recently opened the Hall of Justice studio in Seattle and agreed to help them record.
John recruited Joe Bass of Sky Cries Mary and Brian Young of Fountains of Wayne to flesh out several of the songs, and the album gradually evolved to feature only John's songs. After several months, The Worst You Can Do Is Harm was finished.
John traveled to New York, where he played solo shows and quickly began to write new songs, several of which would be included on the Long Winters's second album, When I Pretend to Fall.
While in New York, John was contacted by Barsuk Records — the label that would release The Worst You Can Do Is Harm — who made it clear that they wanted John to promote the release by touring. He returned to Seattle, where he was joined by Chris Caniglia, former Western States Hurricanes drummer Michael Shilling, and Eric Corson on bass. Thus, The Long Winters were born.
Sean Nelson offered to sing harmony vocals on a number of songs at the band's first live gig. He ended up casually performing with the band for their first few shows before committing to full-time enrollment.
The original trio responsible for The Worst You Can Do Is Harm (John Roderick, Sean Nelson, and Chris Walla) is often considered the original incarnation of the band. John and Sean, along with recruits Eric Corson and Michael Shilling (the drummer in Roderick's previous band, the Western State Hurricanes) are the core players behind When I Pretend to Fall, with Sean having replaced Chris Caniglia as the band's keyboardist. When I Pretend to Fall was released and John, Sean, Eric and Michael embarked on an ambitious series of tours throughout 2003 in support of the album. The band toured North America with Barsuk Records labelmates Nada Surf and Death Cab for Cutie, and later spent November touring Europe. Michael Shilling eventually quit in December of 2003, burned out by the hectic touring and lifestyle of the band.
With the best wishes of the Long Winters, Sean left in March 2004 to rekindle his former band.
At the time of Sean's departure, the Long Winters had begun rehearsing with Michael Shilling's replacement for the band's 2004 tours, former Death Cab for Cutie percussionist Michael Schorr. Confronted with a double blow to the band's line-up, John took the opportunity to reinvent the band — especially with an East Coast tour supporting The Pernice Brothers, a more fleshed out European tour, and a nationwide tour supporting the Decemberists that would take the band through the spring and well into the summer. Thus, the leaner three-piece version of The Long Winters was born, featuring John Roderick, Eric Corson, and Michael Schorr.
This extensive spring/summer 2004 tour took its toll on drummer Michael Schorr, who left the band shortly after its completion. John continued to do small promotional events and shows throughout the latter half of 2004 and 2005, often previewing a handful of new Long Winters songs.
The latest incarnation of the Long Winters features John Roderick on vocals, guitars, and keyboard, Eric Corson on bass and back-up vocals, and Nabil Ayers on drums. The Long Winters toured with Keane in October 2005 in support of an EP released on October 11th, 2005, titled Ultimatum. John Roderick did a solo mini tour through Europe in May 2006 to promote awareness for the third full-length LP, Putting the Days to Bed, which was released on 25 July 2006. In the fall of 2006 the band, now with guitarist/keyboard player Jonathan Rothman replacing Michael Squires, toured the USA, after which they joined Keane once again for a European tour. Listed among the hardest touring bands in music, the Long Winters begin 2007 with yet another European tour, followed by a month of shows in the USA and Canada.
Shapes
The Long Winters Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
And the Moon doesn't favor girls
Giant fork and spoon
Is a sign that the game is on
You know Karate now?
From a show?
When two of the raiders come
I'm counting on you to throw more than shapes
But I would be good
I'd cut you not just with words
Cut you not just with words
So you melt chocolate hearts
Well I can forestall the Sun
When two of the raiders come
I'm counting on you to throw more than shapes
Angels rush in where I fear to tread
Secrets, secrets, damn your secrets
So you melt chocolate hearts
Well I can forestall the Sun
When two of the raiders come
I'm counting on you to throw more than shapes
Just so you know
It's all I'm waiting for
The Long Winters' song "Shapes" is a cryptic and introspective reflection on insecurity and the fear of failure. The first verse sets the scene with the lines "Rice won't grow at home / And the Moon doesn't favor girls." This imagery represents the sense that everything is working against the singer. They feel powerless and unable to achieve success. The second line also hints at gender inequality and the struggles that women face in our society.
The following lines, "Giant fork and spoon / Is a sign that the game is on," could be interpreted as a reference to a game show or contest of some sort. Perhaps the singer feels like they are competing against others, and the giant utensils represent the absurdity and high stakes of the situation. The next few lines are a sarcastic dig at someone who has learned karate from a TV show. This could represent the singer's frustration with people who think they know everything but don't have the experience or skill to back it up.
The chorus repeats the lines "When two of the raiders come / I'm counting on you to throw more than shapes." This could be interpreted as a challenge or a call to action. The singer is hoping that the other person will step up and do more than just go through the motions. They want someone who will take risks and fight for what they believe in. The final lines of the song, "Just so you know / It's all I'm waiting for," suggest that the singer is waiting for someone to prove themselves worthy of their trust and admiration.
Line by Line Meaning
Rice won't grow at home
The singer highlights that certain things don't grow in their homeland, setting up a theme of displacement and disconnection from one's roots.
And the Moon doesn't favor girls
The singer notes the unfairness and inequality present within societal gender roles, even pointing out cosmic forces being aligned against women.
Giant fork and spoon
This seemingly random image is introduced as a sign that something playful or competitive is about to occur.
Is a sign that the game is on
The previous line is repeated with the implication that competition and rivalry are going to be part of the events unfolding.
You know Karate now?
The artist is questioning the legitimacy of someone's newly-learned skill or talent, suggesting either skepticism or interest in learning more.
From a show?
The singer further probes the context and validity of the person's skill, wanting more information or disbelieving the source of their knowledge.
When two of the raiders come
This line sets up a scenario of potential danger or conflict, with outside forces arriving and causing trouble.
I'm counting on you to throw more than shapes
The artist is asking someone to step up and defend or fight back, specifically hoping they will do more than just make empty gestures or gestures of resistance.
Men now don't fight with swords
The artist bemoans the loss of romanticized, chivalrous violence in modern times, but acknowledges that things have changed.
But I would be good
The artist then boasts that they themselves would be capable of violence if it came to it, suggesting a hidden, repressed desire for confrontation.
I'd cut you not just with words
The singer pledges to use more than just verbal daggers and actually act out violently if provoked.
So you melt chocolate hearts
The artist is referencing someone else's ability to manipulate or seduce others, implying that the person is insincere or engaging in morally questionable behavior.
Well I can forestall the Sun
The singer boasts of their own ability to control and manipulate the environment, which contrasts with the lack of control over natural forces conveyed by the line about the Moon earlier.
Angels rush in where I fear to tread
The singer contrasts their own fear with the idea of divine intervention or intervention from external forces.
Secrets, secrets, damn your secrets
The singer is frustrated with the idea of hidden knowledge or things being kept from them, using repetition for emphasis and intensity.
Just so you know
The artist prefaces something of importance or relevance to the other person in question.
It's all I'm waiting for
The artist suggests that they are eagerly anticipating the unfolding of events or a particular outcome, and that it is the only thing they are focusing on.
Lyrics © ROUGH TRADE PUBLISHING, Kobalt Music Publishing Ltd.
Written by: John Roderick
Lyrics Licensed & Provided by LyricFind