Riding midnight rails on a self esteemed engine
Tapping hopelessly on plastic keys
A bottle of friendly next to me
And it never gets done, it never gets done
The midnight oil tapped clear
Lobotomy in action
Hitting walls at the turn of my head
It's a quail's call echoing in the head
The fingers move small emotion
Like ligaments strung out, taught like string
The fingers move small emotion
Like ligaments strung out, taught like string
Limp like dead fish
Trying to find water to breathe
Overworn and confused
Reaching in air for words I'd hoped to appear
Was put in the system last night, smelling up the skin
It's open like deep skies
I need lift in my head, hours in a day
I want to hide behind the dresses of women I've never met
I need lift in my head, I need more hours in a day
It works well this way
This machine like function
Eyes swollen half shut
It works well this way
Looking into walls
Fishing for humans in a moat
It never gets done
With this it never gets done
It's open like deep skies
It's open like deep skies
Falling on pillars of demon gods
Falling on pillars of demon gods
Sometimes the hand just falls on the Book of God
Clenching your teeth hoping He'd finally give a nod
Save me, please
Save me, please
These Arms Are Snakes were a Seattle-based progressive/post-hardcore quartet active from 2002 to 2010 under the Suicide Squeeze Records label. The band featured former members of Botch, Nineironspitfire, and Minneapolis-based Kill Sadie. Drummer and producer Chris Common joined after the recording of their debut album *Oxeneers or the Lion Sleeps When Its Antelope Go Home*. These Arms Are Snakes toured extensively with bands like Minus the Bear, Big Business, Mastodon, Cursive, The Blood Brothers, Engine Down, Hot Water Music, Isis, Pelican, Chiodos, and Against Me!. Collaborators for *Oxeneers or the Lion Sleeps When Its Antelope Go Home* included members of Minus the Bear, Playing Enemy, and The Blood Brothers. The band was known for their intense live shows, often featuring vocalist Steve Snere crowd surfing and spending a large portion of the performance in the audience.
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