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.
Why I love…Murder Story.
I think it’s from the beginning. The musicality of it sounds like a galloping horse. The way Charlie’s guitar cuts through that galloping top hat cymbal sound – love it. And the blend of Mick MacNeil’s fabulous key work with Charlie’s cords is grand.
Then Jim comes in with wonderfully dark lyrics. The pace of the song is quite middling to begin with. We stick to that galloping pace. Until we get to the chorus, then we get Jim’s almost angst delivery of the “No, oh no!” With more fantastic keys from Mick.
Once all verses and chorus are delivered, we change pace through the main structure of the song. Rocking guitar from Charlie. I mean GENUINE rock n roll guitar! Not really the kind of stuff he delivers much these days.
It gets quick and Jim’s singing is glorious in this part. The lines delivered again have more angst and venom…“It’s so apparent when I walk in the door that I’m all alone, there’s no one home and no one wants me anymore”, and, my favourite line from the song “The children from the street call out my name ‘hey you!’” – I love the idea that the protagonist/antagonist of the song is called “Hey you!” Lol. Such great work from such a young man. He seems to diss his own writing ability as a young man these days but he was a FABULOUS lyricist from the off.
Then the change from “I get so scared if I don’t go out at night” to “I don’t wanna go out at night” – paranoia setting in…“It wasn’t me” – hmmm, I doth think he protests too much. As it continues getting faster and faster…ad libbing lyrics…spangly, shiny piano making it all sound so sinister…vocal fading on “It wasn’t me” to return in a loud ending crescendo of “IT WAS ME!” Bam! Confession. Cue abrupt end. Perfection!
And that is why I love Murder Story 🙂