If his mutism was the symbolic death of the ego, it helped birth 'Warszawa' as an aural space, a city sensually reimagined. The 'words' – sula vie delejo – have the open vowel sounds of Japanese and the melodious thickness of Italian, sound objects that emanate from well inside the body and that crystalize in the vocals rather than on the written page, a language of intensity rather than intelligibility. The struggle to complete sentences also resulted in the fragmented 'Breaking Glass', the lyric-free 'Speed of Life' and 'A New Career in a New Town' {the intention was to write lyrics for both}, the vibrating wordless chorus of 'Weeping Wall', the autistic private language of 'Subterraneans', the emotional interjections {'Ahhhh'} of 'What in the World', the circularity of 'Always Crashing in the Same Car' and the repetitions of 'Be My Wife'.
( Dene October )
[ Enchanting David Bowie: ]
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