The song, a "haunting",[3] "dreamlike"[4] synth-pop,[5][6] dark wave,[7] new wave,[8] and dance[9] ballad, features Q Lazzarus's androgynous[10] vocals, picked guitar, snare drums, and drum pads.[11] Its lyrics were based by Garvey on "transcendence over those who see the world as only earthly and finite", with the "horses" in the song representing "the five senses from Hindu philosophy".[2] Evan Sawdey of PopMatters wrote that "Goodbye Horses" has a "strangely entrancing thump" and "sad, tragicomic elements" in the lyrics, describing it as "quirky".[12] It was described by Tracy Moore in Vanity Fair as a "gothy, somber ode", and by Tyler Jenke of Tone Deaf as "rather creepy".[13][14]
The chorus of this song is a reference to the Hindu text Bhagavad Gita, in which the five horses that pull Krishna and Pandava prince Arjuna's chariot, are symbols of the five senses. These five senses keep us tied to the physical/material plane of existence. When you can transcend the limitations of these senses and achieve a higher level of consciousness, you are leaving the "horses" behind - "flying over them." The song is about someone who was so affected by (A loss? A breakup?) they decide to give up the things that keep them tied to this world by emotion.
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From what I understand, the five horses represent the five senses (as you mention); the reins represent the mind; the driver is the intelligence; and the passenger is the soul. A typical image of this shows the chariot headed towards a cliff. The intelligence (driver) is expected to control the mind (the reins), and the reins, in turn, control the horses (senses). If the mind and senses are not in control, the chariot heads for disaster.
As some have written, "horses" do symbolically represent the five senses. I believe the song describes the desperation that comes with discovering reality for what it truly is; a shattered sense of idealism and an embrace of mortality, and finally the kind of sadness that comes with letting go. The person who "tells them" the truth is a sort wise man that represents what one faces when confronted by stark reality. He says, "All things pass into the night", a phrase that could allude to both death and the ephemeral nature of all things in life. For example, the things you treasured or emotions you felt as a child will pass and you will not remember them; in a way, even in life, you will lose yourself or become disconnected from what you once were. Basically, there is nothing to hold onto and the singer must accept letting go. The singer's first reaction is "I must disagree... won't you listen to me?"; a desperate plea that loss is not inevitable as the singer attempts to hold on to innocence. Next the other individual says that they have "seen there hopes and dreams lying on the ground", and beyond that "seen the sky just begin to fall", which is a more apocalyptic vision of the loss of everything (one's life, one's entire sense of reality and self, etc...). In the end, the singer accepts this, and "goodbye horses" represents a kind of enlightenment, sort of discovering of what lies beyond the senses, which is a deeper and much more harsh truth. However, this is not a happy enlightenment. In desperation the singer recognizes mortality, loss, and the total uncertainty of reality. The singer is flying over the kind of grounded sense of life and self previously held, and has moved onto an entirely new, but much scarier and insecure sense of reality. This makes me think of a kind of tortured spirit or whirling through the air. So in affect the song is a huge nervous breakdown caused by the loss of innocence.
In an Eastern philosophy "horses" are symbolic/representative of the 5 senses - the things that keep us tied to the physical/material plane of existence. When you can transcend the limitations of these senses and achieve a higher level of consciousness, you are leaving the "horses" behind - "flying over them." The song is about someone who was so affected by (A loss? A breakup?) they decide to give up the things that keep them tied to this world by emotion.
I love this song; it's just too bad the whole world knows it from such a dark scene. And thanks R3robot for the info. The eastern philosophy bit about horses is interesting, but can anyone elaborate more on the dialogue?
The meaning: In an Eastern philosophy "horses" are symbolic/representative of the 5 senses - the things that keep us tied to the physical/material plane of existence. When you can transcend the limitations of these senses and achieve a higher level of consciousness, you are leaving the "horses" behind - "flying over them." The song is about someone who was so affected by (A loss? A breakup?) they decide to give up the things that keep them tied to this world by emotion.
In Eastern Philosophy, horses are a symbolic representation of the 5 senses. These are the things that bind us to physical plane of existence. When you can go beyond the limitations of these senses, and achieve a higher level of consciousness, you are "leaving the horses behind". "Flying over them".
Internally as well pleased that my companion was not put to give me this last proof of his skill, I wrote a note with a pencil, desiring Samuel to bring my horses at midnight, when I thought my frolic would be wellnigh over, to the place to which the bearer should direct him, and I sent little Benjie with an apology to the worthy Quakers.
In the meantime, the cart was dragged heavily and wearily on, until the nearer roar of the advancing tide excited the apprehension of another danger. I could not mistake the sound, which I had heard upon another occasion, when it was only the speed of a fleet horse which saved me from perishing in the quicksands. Thou, my dear Alan, canst not but remember the former circumstances; and now, wonderful contrast! the very man, to the best of my belief, who then saved me from peril, was the leader of the lawless band who had deprived me of my liberty. I conjectured that the danger grew imminent; for I heard some words and circumstances which made me aware that a rider hastily fastened his own horse to the shafts of the cart in order to assist the exhausted animal which drew it, and the vehicle was now pulled forward at a faster pace, which the horses were urged to maintain by blows and curses. The men, however, were inhabitants of the neighbourhood; and I had strong personal reason to believe that one of them, at least, was intimately acquainted with all the depths and shallows of the perilous paths in which we were engaged. But they were in imminent danger themselves; and if so, as from the whispering and exertions to push on with the cart was much to be apprehended, there was little doubt that I should be left behind as a useless encumbrance, and that, while I was in a condition which rendered every chance of escape impracticable. These were awful apprehensions; but it pleased Providence to increase them to a point which my brain was scarcely able to endure.
Most of my company seemed to make hastily for the shore on receiving this intelligence. A driver was left with the cart; but at length, when, after repeated and hairbreadth escapes, it actually stuck fast in a slough or quicksand, the fellow, with an oath, cut the harness, and, as I presume, departed with the horses, whose feet I heard splashing over the wet sand and through the shallows, as he galloped off.
The string of loaded horses then struck forward at their former pace, while Nanty, with Sam Skelton, waited by the roadside till the rear came up, when Jephson and Fairford joined them, and, to the great relief of the latter, they began to proceed at an easier pace than formerly, suffering the gang to precede them, till the clatter and clang attending their progress began to die away in the distance. They had not proceeded a pistol-shot from the place where they parted, when a short turning brought them in front of an old mouldering gateway, whose heavy pinnacles were decorated in the style of the seventeenth century, with clumsy architectural ornaments; several of which had fallen down from decay, and lay scattered about, no further care having been taken than just to remove them out of the direct approach to the avenue. The great stone pillars, glimmering white in the moonlight, had some fanciful resemblance to supernatural apparitions, and the air of neglect all around, gave an uncomfortable idea of the habitation to those who passed its avenue.
It takes about five minutes to find Craig Wingett's stash of Playboys, a stack under his bed. We sit on the floor, we crouch, we kneel, we curl up. We open to the centerfold, Miss Whatever-month, an oiled-up blonde on a bearskin rug in front of a roaring fire. From what I can tell, she's in a cabin in Alaska somewhere. She's wearing a diamond choker, black spike heels, and nothing else. Her boobs are bigger than her head. We read the blurb about her in the bubblegum-pink box: her name is Kimberly. She likes warm smiles, riding horses bareback, swimming naked at the beach. Dislikes negativity. l look at Cammy. She is staring at Kimberly the way my dad stares at the Watergate hearings on our black-and-white TV. Leaning forward a little. Not blinking. 0852c4b9a8
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