And the rain let in
The hawser rolls, the vessel's whole and Christ, it's thin
Well Iʼd know that you'd offer
Would reveal it, though it's soft and flat
Won't repeat it, cull and coffers that
For the soffit, hang this homeward
Pry it open with your love
Sending lost and alone standing offers
It is steep, it is stone
Such recovery
From the daily press, the deepest nest, in keeper's keep
All the news at the door
Such a revelry
Well, it's hocked inside of everything you said to me
It was found what we orphaned
Didn't mention it would serve us picked
Said your love is known
I'm standing up on it
Aren't we married?!
I ainʼt living in the dark no more
It's not a promise, Iʼm just gonna call it
Heavy mitted love
Our love is a star
Sure some hazardry
For the light before and after most indefinitely
Danger has been stole away
This is Axiom
In an interview with NPR, Vernon said about Beth/Rest:
You know, I might’ve messed up not expecting them to latch onto it. I think that it makes sense that people are latching onto it. People are latching onto that one because it seems like a statement, or it might seem like I’m trying to pull the wool over somebody’s eyes, or they’re just plain not into keyboard sounds like that. And I don’t feel defensive about it. For me, I didn’t think about it that much when I made that song. When I made it, I was like, ‘I love this song. I really needed to write this song. And I need it to be last on this record.’ And I need to close out the record with this song and what it’s saying and how it relates to “Perth,” musically and lyrically…Well, “Perth” is this awakening or this birth. And to relate it to some of the conversation we’ve been having, it’s sort of that moment when you have decided to wake up and take control. And “Beth/Rest” is the death, but it’s a good death. It’s good winter. But it’s a rest; it’s not this final thing. “Beth” seems like this really cool name for a place you just go to be in paradise forever…
