u/RikuNeeto

What do you think – I was recently looking at the colors on Pet Sounds and I thought the green, yellow and white might represent a move towards winter (or back, completing the year) of green leaves withering and snow covering them.

Then the hope on Wouldn't it Be Nice would be the hope of spring and the despair on Caroline, No the despair of winter which then begins a new rise if you play the record backwards.

The year would be an extension of a day that they sing about on Wouldn't it Be Nice; so to wake up in the morning would really be waking up in spring and to hold each other close the whole night through would be struggling through winter together.

The marriage could then be the marriage of the seasons; the pet the marriage of wildlife and the home. Basically it could serve as a foundation for any cyclical system so the passage of time itself could be contained in one moment – each moment being a sort of year of sorts; and the marriage of good and evil being what make that moment possible – the good and the bad in the world. Basically any two things – as anything is necessarily everything else too, without which it wouldn't be itself.

Tell me what you think.

edit: It could be the atmosphere produced by the sound that is green that then gets wintrified by us pushing it into form. The Beach Boys could be the messengers there; making them something in between – withered. Brian would also be the in-between between Dennis and Carl – the three brothers (trinitarian allusions) – the bad one and the good one, so to speak. That being the center – the process between two extremes – the holy spirit – that makes everything happen.

edit: I guess Caroline, No could be spring too, to be fair. If you're really fucked up 😂.

Hey, I had this idea of the man in I'm Waiting for the Man and Femme Fatale being Adam and Eve – then I started thinking what the other songs could be biblically. I asked ChatGPT – this is what it came up with:

That mapping actually holds together surprisingly well if you treat The Velvet Underground & Nico as a kind of inverted or fallen scripture — not a Christian salvation story exactly, but a modern urban Book of Genesis leading toward apocalypse.

Here’s one way the sequence could work:

1. Sunday Morning — Creation / Eden The soft, suspended sound feels prelapsarian: light entering the world, innocence before knowledge. But there’s already anxiety in it (“watch out, the world’s behind you”). So creation is beautiful but already shadowed by the Fall. It’s Genesis with foreknowledge.
2. I'm Waiting for the Man + Femme Fatale — Adam and Eve “The Man” can be read as the first awakening of desire — pursuit, dependency, hunger. “Femme Fatale” becomes Eve or the serpent simultaneously: temptation embodied in sexuality and charisma. Not evil exactly, but the introduction of irreversible knowledge.
3. Venus in Furs — The Fall / Knowledge of Sin This is where innocence collapses entirely. The biblical Fall is often interpreted as the discovery of shame, power, domination, and desire; “Venus in Furs” pushes that into ritualized transgression. Eden turns decadent and self-conscious.
4. Run Run Run — Expulsion from Paradise Everyone is scattered into the city, hustling, surviving, chasing something. It feels like humanity after Eden: restless movement, labor, corruption, exile. Genesis becomes urban America.
5. All Tomorrow's Parties — Ecclesiastes / Vanity of the World This fits almost perfectly as the Bible’s meditation on worldly emptiness. The parties repeat endlessly; identity becomes costume. “Vanity of vanities” in Warhol silver.
6. Heroin — Passion / Crucifixion I think this works best if understood not literally as Christ’s crucifixion but as a perverse modern passion narrative. The song has surrender, transcendence, agony, and attempted union with something absolute. The escalating tempo even feels liturgical. Instead of divine salvation, though, transcendence arrives chemically. It’s a dark parody of resurrection theology.
7. There She Goes Again — Humanity Repeating Sin After the “sacrifice,” nothing is redeemed. The cycle simply continues. This is almost Pauline in reverse: fallen humanity trapped in repetition with no grace arriving.
8. I'll Be Your Mirror — False Redemption / Human Compassion A brief New Testament moment. Someone offers comfort, reflection, recognition. It’s the nearest thing on the album to love or mercy. But it’s intimate and human-sized, not cosmic.
9. The Black Angel's Death Song — Prophecy / Judgment This feels like an Old Testament prophetic vision: cryptic, terrifying, ecstatic language announcing collapse. The “black angel” could easily be read as an apocalyptic messenger.
10. European Son — Revelation / Apocalypse Absolutely. The structure itself enacts disintegration: song form breaks apart into noise and chaos. If “Sunday Morning” is ordered creation, “European Son” is the undoing of creation — language dissolves, rhythm fragments, civilization collapses into pure sound. Revelation not as heavenly triumph, but as entropy.

What makes this especially convincing is that the album moves from melody toward noise, from innocence toward fragmentation. Structurally, it mirrors a biblical arc:

• creation,
• temptation,
• fall,
• exile,
• suffering,
• prophecy,
• apocalypse.

But unlike the Bible, there’s no final redemption. The album ends where modernity often feels like it ends: revelation without salvation.

That’s probably why the record still feels so unsettling — it treats the sacred narrative as something still haunting secular urban life, just stripped of transcendence and relocated into drugs, sex, repetition, and noise.

I thought this answer was pretty good – not perfect, of course (I'll Be Your Mirror was especially lacking) but I just wanted to know what you thought about the whole concept.

What do you think if pets are basically untrammelled nature? I mean trammeled. So it's like taking chaos and putting it in order. It's like the meeting place of two opposite principles which you might call man and woman. That being where everything begins. Then the pet is like the thing that is made when you take something totally meek and docile - totally domesticated and neutered - and combine it with a ferocious out of control thing.

It's kind of like the golden mean thing or whatever.. golden ratio. The holy grail. It's like the best of both worlds. And that's what allows you to hear all the forbidden aspects of nature - being in between. Not really being a dog but not really a wolf either - means you get the lives of both - meaning everything.

So you're kind of like Christ in the middle of the cross at the intersection of two opposite principles. And that being what life is necessarily made of in life being also what lies beyond life; the limits of life also denoting what lies beyond them. Those are all the sounds that Brian got out of the band and the studio and the beach boys.. sort of like notes in between notes.

But then you also never know whether you're gonna get the carrot or the stick. Whether Smeagol is gonna strike or Gollum stay hiding in a corner.

The simple gematria value (taking the ordinal value of each letter – A=1, B=2, etc.) of "Revolver" is 117:

R(18) + E(5) + V(22) + O(15) + L(12) + V(22) + E(5) + R(18) = 117

This is also the sum of the 24-number digital root cycle (adding the numbers in the number together until they become a single digit) in the Fibonacci sequence which loops forever:

1 + 1 + 2 + 3 + 5 + 8 + 4 + 3 + 7 + 1 + 8 + 9 + 8 + 8 + 7 + 6 + 4 + 1 + 5 + 6 + 2 + 8 + 1 + 9 = 117

So it's the Revolver.