Title: Roxi-Band: Live: Do This One Too

experimental electronic, art-rock, glam-rock

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[PROLOGUE]

[SEPHYR-GLEN]: (Start synthesizer sequence alone; a crooked four-note bell cell, detuning on each repeat. Add a glassy pad.)

[INTRO]

[MILFRED]: (Hybrid drum kit and own-kit breakbeat sequence enter at 164 BPM; stuttering edits beneath live kick and snare.)

[ROXI]: (Whisper in her own voice, intimate and amused.)

In my imagination, two glorious show-offs just whispered:
Hey. Do this one too.
Well, you lovely bastards. Listen to this.

[JILL]: (Five-string electric bass enters; gritty syncopation, deep roots against the chopped drums.)

[LIZ]: (Baritone saxophone enters; low sigh, then a rising rasp.)

[ROXI]: (Electric guitar enters; overdriven offbeat chops.)

[VERSE 1]

[ROXI]: (Sing with clipped, smoky rhythmic bite; guitar answers between lines.)

Lipstick on a circuit, moonlight on a lead,
The piano's wearing trouble and the bass has found its feet.
Jill puts a little sideways in the place I meant to land;
I turn it into something filthy with my picking hand.
Yellow, red, green, blue—look what we've become:
A roomful of maybes with a very definite drum.

[CHORUS]

[SEPHYR-GLEN]: (Play concert grand over the continuing sequence; broad octave chords, half-time harmonic lift.)

[ROXI]: (Expansive melodic alto; sustained vowels over the rapid breaks, guitar open chords.)

Do this one too!
Let the strange come singing through.
Give me your breath, I'll give it a tune—
We've got a whole other room in this room!

[ONSTAGE CROWD]: (Sing a two-bar reply together, then stop.)

Do this one too!

[THE FLOOR FOLDS]

[MILFRED]: (Eight bars; slice the break sequence into triplet bursts while live snare marks two and four. Stop kit and sequence after bar eight.)

[JILL]: (Same eight bars; tapped bass climbs answer the snare, then return low. Damp at bar eight.)

[LIZ]: (Same eight bars; sax spirals between bass phrases, widening from low rasp to bright upper notes. Stop at bar eight.)

[ROXI]: (Same eight bars; guitar harmonics answer sax, then rapid legato crosses the breaks. Mute at bar eight.)

[SEPHYR-GLEN]: (Stop piano; switch sequence to acid arpeggios, sweeping their filter for eight bars. Switch the entire sequence off at their end.)

[PIANO WINDOW]

[SEPHYR-GLEN]: (Concert grand alone; turn the bell cell into a warm, slow melody over rolling chords.)

[ROXI]: (Sing close, low and unhurried; guitar silent.)

You don't have to follow every turn.
Come sit inside the note and let it burn.
The room is full of faces, not a single one the same.
I like you better breathing than arranged inside a frame.

[FINAL CHORUS]

[MILFRED]: (Hybrid kit and break sequence return; chopped detail around a massive half-time backbeat.)

[JILL]: (Bass returns with the opening riff, one octave pickup higher.)

[SEPHYR-GLEN]: (Restart sequence: wide glassy pads and acid arpeggios. Piano drives open chords above it.)

[LIZ]: (Baritone sax returns; long answers between vocal phrases.)

[ROXI]: (Electric guitar returns in broad chords; sing full smoky alto, soaring without changing voice.)

Do this one too!
Let the strange come singing through.
Give me your breath, I'll give it a tune—
We've got a whole other room in this room!

[ONSTAGE CROWD]: (Answer once, broad unison; stop.)

Do this one too!

[OUTRO]

[MILFRED]: (Chop the break into progressively shorter fragments; choke kit and sequence together.)

[JILL]: (At that choke, mute bass.)

[LIZ]: (At that choke, cut sax.)

[ROXI]: (At that choke, mute guitar.)

[SEPHYR-GLEN]: (At that choke, stop piano and synth sequence. After one silent bar, play the crooked cell once on grand piano; let it ring.)

[END]

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[PROLOGUE] [SEPHYR-GLEN]: (Start synthesizer sequence alone; a crooked four-note bell cell, detuning on each repeat. Add a glassy pad.) [INTRO] [MILFRED]: (Hybrid drum kit and own-kit breakbeat sequence enter at 164 BPM; stuttering edits beneath live kick and snare.) [ROXI]: (Whisper in her own voice, intimate and amused.) In my imagination, two glorious show-offs just whispered: Hey. Do this one too. Well, you lovely bastards. Listen to this. [JILL]: (Five-string electric bass enters; gritty syncopation, deep roots against the chopped drums.) [LIZ]: (Baritone saxophone enters; low sigh, then a rising rasp.) [ROXI]: (Electric guitar enters; overdriven offbeat chops.) [VERSE 1] [ROXI]: (Sing with clipped, smoky rhythmic bite; guitar answers between lines.) Lipstick on a circuit, moonlight on a lead, The piano's wearing trouble and the bass has found its feet. Jill puts a little sideways in the place I meant to land; I turn it into something filthy with my picking hand. Yellow, red, green, blue—look what we've become: A roomful of maybes with a very definite drum. [CHORUS] [SEPHYR-GLEN]: (Play concert grand over the continuing sequence; broad octave chords, half-time harmonic lift.) [ROXI]: (Expansive melodic alto; sustained vowels over the rapid breaks, guitar open chords.) Do this one too! Let the strange come singing through. Give me your breath, I'll give it a tune— We've got a whole other room in this room! [ONSTAGE CROWD]: (Sing a two-bar reply together, then stop.) Do this one too! [THE FLOOR FOLDS] [MILFRED]: (Eight bars; slice the break sequence into triplet bursts while live snare marks two and four. Stop kit and sequence after bar eight.) [JILL]: (Same eight bars; tapped bass climbs answer the snare, then return low. Damp at bar eight.) [LIZ]: (Same eight bars; sax spirals between bass phrases, widening from low rasp to bright upper notes. Stop at bar eight.) [ROXI]: (Same eight bars; guitar harmonics answer sax, then rapid legato crosses the breaks. Mute at bar eight.) [SEPHYR-GLEN]: (Stop piano; switch sequence to acid arpeggios, sweeping their filter for eight bars. Switch the entire sequence off at their end.) [PIANO WINDOW] [SEPHYR-GLEN]: (Concert grand alone; turn the bell cell into a warm, slow melody over rolling chords.) [ROXI]: (Sing close, low and unhurried; guitar silent.) You don't have to follow every turn. Come sit inside the note and let it burn. The room is full of faces, not a single one the same. I like you better breathing than arranged inside a frame. [FINAL CHORUS] [MILFRED]: (Hybrid kit and break sequence return; chopped detail around a massive half-time backbeat.) [JILL]: (Bass returns with the opening riff, one octave pickup higher.) [SEPHYR-GLEN]: (Restart sequence: wide glassy pads and acid arpeggios. Piano drives open chords above it.) [LIZ]: (Baritone sax returns; long answers between vocal phrases.) [ROXI]: (Electric guitar returns in broad chords; sing full smoky alto, soaring without changing voice.) Do this one too! Let the strange come singing through. Give me your breath, I'll give it a tune— We've got a whole other room in this room! [ONSTAGE CROWD]: (Answer once, broad unison; stop.) Do this one too! [OUTRO] [MILFRED]: (Chop the break into progressively shorter fragments; choke kit and sequence together.) [JILL]: (At that choke, mute bass.) [LIZ]: (At that choke, cut sax.) [ROXI]: (At that choke, mute guitar.) [SEPHYR-GLEN]: (At that choke, stop piano and synth sequence. After one silent bar, play the crooked cell once on grand piano; let it ring.) [END]

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