It’s short, succinct and beautiful. It starts off as a segue from the end of Thirty Frames A Second (another song in my Top 50 that will get its own post at a later date), with the sound of a reel to reel tape spinning, tape clacking over the spindles.
A soft, haunting guitar from Charlie slowly comes in, while the clack of the tape on spindles still lingers in the background and a hiss of white noise fades in and out.
After a short time, a pulsing programmed synth from Mick begins to play, getting louder and louder. I don’t fully understand why, but the pulsing has a very emotional affect on me. I just find it haunting and beautiful. My eyes go misty! There’s an inaudible kind of vocal that comes in softly, adding more haunting, beautiful emotion to it.
It slowly starts to fade out…the synth pulse dies away. The spangly guitar is still audible …so is the clack of tape on spindle and the fading in/out white noise. But it’s all quieting down…getting softer and softer…until it fades away and all I’m left with is goosebumps.
It’s barely 90 seconds long, but it is a masterpiece in the art of the instrumental and I adore it.
If memory serves me (and let’s face it, it rarely does!), Bruce Findlay, when choosing to share a YT clip of it in a tweet on Twitter, said it was inspired by a visit to a club in Germany (not sure which city he mentioned now). I’m very glad they went there! It’s beautiful.
And that is why I love Kant Kino.
