Songs for the Bewildered: We’re Going out the Same Way we Came in
A twiddled knob? A pair of headphones loosely clasped to a pair of ears? A graphic equalizer being slyly manipulated by a finger? Standing around in a cardigan? The classic hallmarks of no-budget, guerrilla music-video-making.
Big Tom (one of Ireland's pioneering guerrilla music-video-makers) is a master of the form. He makes it look easy. He makes it look amateurish. He makes it look as lovingly home-made as a lovely slice of sponge cake. He knows that long, lingering shots of dials and computer monitors will give his followers a vicarious technological thrill. If Star Trek (original series) is your only Sci-Fi reference, then knobs & dials are the stuff of an impossibly exotic future.
The song itself is Memento Mori-tastic. A Country 'n' Irish mélange of fetishised Americana ("Coup de Ville", "Kinfolk", "Skid Row") and the grim inevitably and inescapablity of death. All delivered by one of the saddest faces in popular music…
Jesus. Poor old Big Tom. His craggy head looks like it was moulded from week-old soda bread dipped in infinite sorrow. His final downward glance, as we fade to black, is something that will haunt me for years. We're all going to die. And Big Tom knows it. Knows it better than any man (just about) alive.
December 9, 2009
7 responses to Songs for the Bewildered: We’re Going out the Same Way we Came in
That screencap makes me feel ill with despair. I’m going to hide in a darkened room.
It’s been suggested that what Big Tom is actually calling for is a literal return to the womb.
http://twitter.com/midnightcourt/status/6512646891
Something that presents logistical problems for a man of his impressive physique.
2 other points.
1) The crumpled sheet of paper with lyrics scribbled in biro adds a further touch of vérité.
2) Who’s yer man (with the slacks, jumper, and folded arms) standing behind the mixing desk at 1:34? Big Tom’s draconian and controlling manager? Big Tom’s Phil Spector? Big Tom’s pal “Little Tom”?
My favourite part is Tom engaging in “casual” chit-chat with the mixing desk bloke from about 1:10. It’s My-Lovely-Horse-worthy.
What does he know anyway? I’m going out in a wheelie bin full of fireworks.
Nice Glen Campbell stylings there, complete with gear change (jumping up a whole step) as the song plods to its inexorable conclusion. A classic move.
I’m just worried that it’s a personal threat. I now fear for my life.