I think this track evolves in a such a new way
Childhood - ‘Pinballs’ (Tour Footage Video)
The beginning of this track commences relatively conventionally, in terms of genre, but slowly graduates, or maybe a better word is unravels, into a composition that defines the terms ambiance, atmosphere. The transition from harsh layer to grade reminisces of Great Gig in the Sky, by Pink Floyd.In an arguable movement, musically speaking, ‘Pinballs’… pinballs from chaotic and cerebral, moving an yet unmoving, to tantalizingly gentle, thoughtful, and considerate.
The track ultimately flourishes, lackadaisically, in such an ironically precise way, as if the lyricism only ever existed to promote the theory under-girding the entire track. The last line flickers out, in a way that feels endless and yet finalizing, suspended and yet directional. The laze of the movement evokes cinematic imagery, pinpointing the emotional thesis of movies like the Virgin Suicides, while the intoxicating, malevolent* drown and effective vacancy of the guitar reverb invites comparison to generational artists like Tamaryn or Mazzy Star.
And although somewhat chunky, the bridge decisively and ambitiously connects what seems like two emotional continents, in an operatively inquisitivistic* way; a way that formats a seemingly interrogative relationship with the track, begging questions native to that innumerable moment just before one drifts to sleep: will I ever? can I even? will they let me?
I think it’s a great piece of work.
- *(I made up inquisitivistic to describe something whose properties contain features designed to illicit inquisition)
- *i use the term malevolent as an inter-cultural criticism of the self-deprecative and self-annihilating disposition of angsty, drowned out reverb.
What do you think?
Love Me Like I’m Not Made of Stone - Lykke Li
The High [Prod by Gifted & Blessed]