Song Meaning

The lyrics paint a portrait of Austin Osman Spare, a figure seemingly ahead of his time, whose artistic creations blurred the lines between the fantastical and the terrifying. The opening lines establish a dichotomy: "painted daydreams" versus "painted nightmares," immediately setting a tone of intriguing duality. The narrator questions the perception of Spare's legacy, wondering if his "grandson realise / He isn't dead?" suggesting that Spare's influence and artistic spirit persist beyond his physical demise. The central tension revolves around the posthumous reception of Spare's work. Initially dismissed as "before his time" and his "reproductions out of line," the narrative shifts to a present where "now he's dead / They wish him well." This creates a poignant contrast between past criticism and current admiration, leaving the listener to ponder whether Spare has found peace in "Heaven" or is still grappling with the darker aspects of his art, perhaps "come back from Hell." The craft of the lyrics shines in its use of evocative imagery and rhetorical questions. The act of Spare lighting "black candles" and the mention of "Runic letters" hint at occult or esoteric practices, prompting the question of what he "really learnt." This deliberate ambiguity invites speculation about the depth of his knowledge and the potential consequences of his artistic explorations, symbolized by the query about his "fingers might get burnt." Ultimately, the effectiveness of these lyrics lies in their ability to capture a sense of enduring mystique. The final stanza suggests that Spare's ideas, embodied in his drawings, continue to inspire devotion, with listeners invited to "Kiss the cloven hoof" and experience "eternal years." This implies that Spare "Lives on with us," not as a person, but as a powerful, almost deified, artistic force whose "ideas" are worthy of worship.