The Last Romantic Verb: Erotic V

One moment whille I get my headphones on...

Two minutes and four seconds into THE LAST ROMANTIC VERB the arc called EROTIC V begins.

After a brief musical interlude, we get LUST BUNNIES, a gentle nudge to an absent lover, letting her know that I miss her and need her here to protect me from the lust bunnies that hide under my bed. It is right after this piece the real star of this arc rears her head, as you will note soft sighs and moans, courtesy of the Selke, herself, which really add to the...er...atmosphere.

Then, at 03:08, the arrogance of SWERVE (FLIRT), where an earnest man apologizes for his studied gaze of a beautiful woman, just to use that as a springboard to an attempted seduction.

Less than a minute later (04:01) THE PRIEST OF PASSION SERVES THE SACRAMENT, and does he. Offering himself to his goddess, offering his hunger and his flesh to worship the woman he loves and adores. Sacrificing himself in an holy ordnance of vows of passion and fealty.

From the cycle known as PRESCIENT TENSE, at five minutes and twenty-seven seconds, we get the poem ROSE PETALS, gently erotic and painfully romantic. It was actually taken from a thwarted romantic gesture some time ago, when I spread rose petals on a bed in expectation of a lover's arrival. Who then showed up to break off the relationship. But in this piece, the petals did their work.

How could I open my heart and my erotic spirit without PINK JADE: THIN SKIN? Beginning at the 06:30 mark, it is short but to the point, expressing the communication possible between warm hands and soft skin.

AS I SLIDE INTO YOU equates a somewhat more lively and sly seduction "...for integration. for desecration. for consecration." It opens at 07:24 with the words "close your eyes and open. wide." And I love the line "all allegiances to cross and kin end at your skin". That's a serious lover talking here.

Okay, so the PASSION SYMPOETIQUE is technically three poems, but I count it here as one. So many excellent images here. I love the directness of this work in blending the twin intimacies of heart and flesh. The music shows a new sophistication, a couer rage previously not shown. Like a lover finding his will in the touch of heated flesh. As this poem ends, the music changes to sad, lonely strains, as the night swallows up the lovers, alone with their joy and, perhaps, guilt.

Then, we become FERAL WITH DESIRE at the eleven minute and forty second mark. Awakening to the hunger, the desire, the need to lose control in the cage of life, wrapped in a lover's arms. There's an arrogance, a necessity to "...finding a safe harbour for my hunger."

And the line "To murmur unveiled threats against your virtue. Then fulfill them." ends the arc, with a final, sated sigh from the Selke.

And next we have KISSES FOR KARMA, at the 14:05 mark, but that's later.