1) It is rare to come acros… Read Full Bio ↴There are three groups named "The Works"
1) It is rare to come across a band that can straddle that vast canyon between serial debauch and fierce, exacting professionalism. The Works from Stockholm, Sweden, however are just such a band and they come over like young goggle-eyed virtuosos from some weird Scandinavian conservatoire where ergot, as well as hours of practice, is on the curriculum. How apt then that lead singer/guitarist Andreas began The Works with rhythm guitarist Martin while both were attending the Stockholm School of Music. Six years later (and after a couple of line-up changes) they've consolidated a quintet, all of whom are individually singer/songwriters who play many instruments, hence the depth and intricacy of their sound. Even drummer Johan, who possesses the clattering bombast of a Keith Moon, dedicated 2 whole years of his young life to studying drumming in Cuba. Musically they're saturated in many influences and yet there's something much bigger in there, something unnamable, some element that's hard-wired into their psychically-linked nervous systems. The Works are transcending their influences, becoming more themselves and no one else. Take the Nordic acid test and jack up on The Works. Guest musicians on this tasteful Swedish psychedelic pop rock classic includes Mattias Gustavsson, Reine Fiske and Johan Holmegaard from Dungen.
2) Good news for endangered species everywhere! Straight outta the sin city of Amsterdam, four guys with big apetites cooked up a rock'n'roll dish best served rare!
The simmering began in 2006 with the line-up consisting of 'Raw' Rogier Heumakers (The Shining) on bass, Gilian 'Profundo P' de Haas (The Anomalys) on guitar, Marko '5 ft. 7' Petrovic on vocals and the legendary OpzienBarend van der Meer (Frites Modern) on drums. The music blends the muscular proto-punk rnr of The Dictators and The Stooges with shake-your-ass-able hooks in the vein of The Fleshtones and The Ramones.
Lyrically, the band deals with taboo issues ranging from the problems of the modern male (Endangered Species) to intergenerational love (I wanna Date your Mom) and obesity (I Might Have Love Handles, But I Can't Handle Love). Live, the band brings the atmosphere to a boiling point with sleazy, greasy, high energy Rock 'n' CholesteRoll!
It's name? The Works.
It's mission? Conquering the world, one sweaty shithole at a time.
Come on in and take a bite!
3) Producers Twelve Beats and Terry Tester (also of Vincent Van Go Go) got together as The Works in 2008. No strangers to the fine art of production both has been turning and twisting the studio knobs for prominent artists like Kansas City rapper Reach, Grammy Nominee and R&B singer/songwriter Dwele, and local heroes Nobody Beats The Beats.
Releases on indie labels like BBE Records and Rawkus have caused a stir in the hiphop underground, and in September 2008 British music magazine Shook labeled The Works "Most Slept On". The title is given to new and promising talent.
Terry Tester is also member of Danish soul/funk/rock combo Vincent Van Go Go. The band released a live EP, simply called “Live”, on Rust Music January 2009.
Yokohama EP is the duos debut as The Works. Four tracks with a unique and appealing sound made to hit the ears of both hiphoppers and electronica fans with a taste for beats. The Works call themselves hiphop. But then again, they do not like to be labeled as such. They ask the listener to make up his/her own words, as he/she dig into a world of windy reverbs, strange melodies, and beats out of this world.
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The Works Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Go 'way, don't come 'round here no more
Can't you see that it's late at night?
I'm very tired, and I'm not feeling right
All I wish is to be alone
Stay away, don't you invade my home
Best off if you hang outside
Don't come in, I'll only run and hide
Who can it be now?
Who can it be now?
Who can it be now?
Who can it be now?
Who can it be knocking at my door?
Make no sound, tip-toe across the floor
If he hears, he'll knock all day
I'll be trapped, and here I'll have to stay
I've done no harm, I keep to myself
There's nothing wrong with my state of mental health
I like it here with my childhood friend
Here they come, those feelings again!
Who can it be now?
Who can it be now?
Who can it be now?
Who can it be now?
Is it the man come to take me away?
Why do they follow me?
It's not the future that I can see
It's just my fantasy
Yeah
Hoo, hoo, hoo
Who can it be now?
Who can it be now?
Who can it be now?
Who can it be now?
Oh oh oh who can it be now?
Oh where we are
Who can it, who can it
Oh who can it now
Oh where we are
Yeah yeah yeah
The Works' song "Who Can It Be Now?" is a catchy tune that tells the story of a person who is tired and just wants to be alone. They hear knocking on their door at night and ask the visitor to go away, but the knocking persists. The person becomes anxious and paranoid, wondering who could be knocking and if they are there to take them away. They question their own mental health and turn to their childhood friend for comfort, but their fears continue to haunt them.
This song can be interpreted as a representation of the anxiety and paranoia that can develop in a person who feels overwhelmed and in need of solitude. The constant knocking on the door becomes a metaphor for the intrusions of the outside world that can disrupt a person's peace of mind. The line "I've done no harm, I keep to myself" reflects the desire to maintain privacy and independence, while the phrase "here they come, those feelings again" shows how these anxieties can resurface even in familiar environments.
Overall, "Who Can It Be Now?" is a relatable and catchy song that explores themes of anxiety and the need for privacy. It encourages us to question our own mental health and seek comfort in the people and places we trust.
Line by Line Meaning
Who can it be knocking at my door?
I'm wondering who's at my door and knocking so relentlessly
Go 'way, don't come 'round here no more
Please leave and don't come back
Can't you see that it's late at night?
It's already late and it's not a good time for visitors
I'm very tired, and I'm not feeling right
I'm exhausted and something's not sitting well with me
All I wish is to be alone
I really just want to be left alone
Stay away, don't you invade my home
Keep your distance, don't come into my home uninvited
Best off if you hang outside
It's better if you just wait outside
Don't come in, I'll only run and hide
If you come in, I'll just hide from you
Who can it be now?
I'm still wondering who could be at my door
Make no sound, tip-toe across the floor
Walk quietly so they won't hear you
If he hears, he'll knock all day
If they hear anything, they'll keep knocking forever
I'll be trapped, and here I'll have to stay
I'll be stuck here if I can't get away
I've done no harm, I keep to myself
I haven't done anything wrong, I keep to myself
There's nothing wrong with my state of mental health
I'm mentally stable
I like it here with my childhood friend
I enjoy being around my friend from childhood
Here they come, those feelings again!
I'm starting to feel anxious again
Is it the man come to take me away?
I'm worried about someone coming to take me away
Why do they follow me?
I'm being followed and I don't know why
It's not the future that I can see
I don't know what the future holds
It's just my fantasy
It's just my imagination
Yeah
Indicates agreement or emphasis
Hoo, hoo, hoo
Vocalization that adds emphasis or emotion
Oh oh oh who can it be now?
Still wondering who's at the door
Oh where we are
Location or position unclear
Who can it, who can it
Asking again who it could be
Oh who can it now
Still trying to figure out who's at the door
Oh where we are
Location or position unclear
Yeah yeah yeah
Indicates agreement or emphasis
Lyrics © EMI Music Publishing
Written by: Colin James Hay
Lyrics Licensed & Provided by LyricFind
WizardofTechno
@ladyi7609 the people from NYIT went to Lucasfilm and formed the computer animation division which handled special effects. George was not really interested in doing feature length animation. they left Lucasfilm and formed PIXAR on their own.
eventually Steve Jobs would buy into PIXAR and provide the funding they needed.
it would take John Lasseter, a Disney animator who believed in the future possibilities of 3d animation, joining them to make the whole thing take off and lead to Toy Story
that crew always wanted to work for Disney
and had approached them multiple times over the years only to be turned down.
if you have not yet seen the short
the adventures of Andre and Wally-B
it is a must see and predates Toy Story.
PIXAR soon exceeded Disney at the box office. Steve Jobs made the deal that sold PIXAR to Disney eventually.
Ed Catmull. one of Pixars co-founders, and head of Pixar , eventually assumed the top position at Disney Animation. after dreaming of working for them for most of his life in animation, he eventually was rewarded with the top position there. a career that is most noteworthy indeed. most of that original crew has retired.....
WizardofTechno
@Cloeren Jackson
I assume NOTHING.
I lived it.
I worked at NYIT CGL during those early days under Duane Palyka and know Ed Catmull Alvy Ray and the entire crew during that time period. I regularly meet with them at SIGGRAPH CONFERENCES. Tom Duff is not only a long time friend and coworker from NYIT, but he was also.my mentor who taught me UNIX and C and inspired me to go into operating systems research.
I personally converted Ed's SAIL language programs he wrote at University of Utah into C, not an easy task.
I watched Lance Williams take the first painful steps towards 3d animation with his early efforts on THE WORKS. Watched Ed Emshwiller work on his Sunstone animation with Alvy's help. It was the most amazing time of my life.
Worked personally on the 2d animation "Measure for Measure" which was never released because the computer animation looked 1000 times better than the traditional Disney style cell animation used to do parts the educational feature.
I watched this industry evolve from an infant into the teenager it is today........
Excitedly waiting for its leap to full adulthood.....
Abbimation
I do have a theory, Wall-E was a reincarnation of The Works. Like some of the Pixar employees, who were also worked for NYIT’s Computer Graphics Lab.
And Ed Catmull left NYIT, along with Aly Ray Smith in 1979, the same year as the production of The Works begin.
Like, I think Alexander Schure and Lance Williams given the script to Ed Catmull when they closed CGL in 1986, and shut down the production of The Works.
And Ed given the script to Andrew Stanton.
So that’s my theory.
AzureFire-Studios
This style of CGI would honestly make for a great aesthetic for a video game, Cuphead covered 1930s animation, we need something that covers 80s/90s CGI.
WizardofTechno
well you could track down his widow and find out if she still has the data for these characters. it would be cool to create a game using his best character, the Ant, in some sort of battle game perhaps. dedicate the game to his memory and his role in the birth of 3d animation. cut his widow in for a percentage of the profits.
AortaPlatinum
Scott Cawthon's games do this style really well, if I didn't know any better I'd think The Desopate Hope and Five Nights at Freddy's were obscure PC games from the mid 90s
The Dot Eaters
This is really astounding for 1981. A full-length feature film composed entirely of CGI wouldn't be realized until Pixar's Toy Story in 1995, made by a few people from the NYIT program.
WizardofTechno
@EacanVisuals you are welcome. I owe alot to the geniuses I meet at CGL during my time there. Lance was ahead of his time. most of the folks at CGL were focused on doing conventional 2d animation. the mathematics required to compute and rendered everything as 3d images was actually less computationally intensive than 2d. 2d could be done because they could break it up into steps and do it in stages. generate cell image, mark color locations, fill in colors etc.
3d had to render everything to completion on each frame. hardware was too expensive at the time. it took a few more years more before render farms would be built at PIXAR using relatively inexpensive sun workstations
in order to render multiple frames simultaneously. Lance was the strong advocate for switching over to 3d techniques.
he and several other people made it happen.
EacanVisuals
@WizardofTechno Thank you for the insightful comment
WizardofTechno
@Anatagi Kuna too computationally expensive for the time. Lance Williams was the genius heading up 3D efforts at the lab.
He would later go on to work for NVIDIA.
Sadly he passed away from cancer a few years ago. There are several videos on YouTube of his work in this field.
WizardofTechno
@Cringe face it was shown at the ACM SIGGRAPH conference in 1981 as I recall and done specifically for that conference. It was rendered on either a DEC PDP 11/70 or DEC VAX 11/780 UNDER THE UNIX OPERATING SYSTEM using four EVANS And Sutherland frame buffers.
A frame buffer was an entire 19 inch computer cabinet run by a DEC PDP 11/04 minicomputer. As I recall, the render times on 3d images were measured in hours per frame. A full length feature film was measured in years. This was done at NYIT CGL. Later PIXAR reduced the time by creating render farms. Hundreds of dedicated SUN sparc stations. Replaced by the incredibly fast for its time CHAP system which did near real time rendering using specialized hardware. The cabinet sized CHAP could be considered the forerunner of today's GPGPU chip
WizardofTechno
@Anatagi Kuna the computing horsepower was not available at the time.
It took years for the hardware to come up to speed when PIXAR created their own rendering engine which was expensive.
Jonathan Smith
This doesn't really feel like a movie trailer; it feels more like a demo reel. Of course, considering how many advances the production of this cancelled film brought about, that's quite fitting. While naturally it wouldn't be revolutionary in this age of CGI, am I the only one who wants to see this movie get picked up and completed by a modern studio?