Song Review 4: Friction by Mili
After Utopiosphere established what happens to the worthy dead, Mili returns to investigating the human experience back on Earth with Friction. In this song, we come face to face with some of those emotions and conflicts that are the hallmark of human nature and human entertainment. And, as their first instrumental song, Mili has an opportunity to prove their expertise in storytelling via a new method. Follow me as I tell two short stories that I was able to glean from this song alone.
Song Analysis
While these two short stories are similar in theme, they differ in experience and both will be analyzed below. The very first sound heard (0:00 - 0:02) is a winding or warming up of some sorts. I suspect it's from an old film reel or a retro camera. Either way, the story transpiring through an older medium, suggesting that the conflict seen in this song (and conflict in general) permeates human history. See the "Song Review" section for a discussion about why the choice to have this song be instrumental is important.
Story One: There's No Undo and There's No Repeat
In this possible storyline, this conflict is between two people in a long-term relationship. The nature of it may be romantic, familial, or between friends. I see no reason to prefer one over the other, this experience is almost certainly left open to be generalizable to all of humanity. Immediately after the film reel (0:02 - 0:32), we're thrown into an environment that gives a feeling of dampness and darkness with a cold piano and a snare drum. The higher pitched notes are seemingly just thrown outward, being played by an uncaring, indifferent hand. This could indicate that the relationship of these two are dilapidated. At this point, they're just going through the motions of interacting with each other, following whatever routine tasks or interactions they follow. The lower pitched notes are more sinister, however. They give the feeling of malice and dark undertones that are weaved either into their interactions or the feelings they harbor for each other. Either way, there is a conflict brewing that is a long time coming between these two.
The winding up in the next section (0:32 - 0:39) indicates a fight is coming. Compared to the final battle that comes later in the song, however, this one is smaller. Perhaps it is small but frequent fights such as this that plague this relationship. The lighter notes of the piano come faster and the deeper notes are stuck harder and more frequently. The increased complexity of the piano here speaks to me to the unwinding of the underlying tension that resulting in higher stakes as grievances are expressed to the other. What's really interesting to me here is the introduction of the strings (is it a violin?) near the end of this sequence. It's low, drawn out, and very foreboding, speaking to a further darkening of the mood. But it might also indicate a quivering in the resolution of both people. Maybe it is painful for them to fight because they love and care for each other.
The skirmish begins (0:39 - 1:01) and we get a whirlwind from the piano and our first and only vocalizations. What really strikes me here is the measured chaos that we see. The piano is a fanciful whirl with some sparks (the occasional notes higher than the rest [or is it a triangle?]), yes, but it's also precise and defined. What this and the vocals indicate is that these fights are experienced frequently - they are experts at it. These two know exactly what to say to hurt each other and they bite out those words to each other. I'll also note that the tone of the piano here is much warmer is more lively compared to the beginning, perhaps telling of the passion that these two have. Whether that passion is for each other or is for a love of fighting is unclear.
Having said their sharp words, the fight concludes and both take a breath to calm themselves (1:01 - 1:23) and for a small moment, there is peace and happiness for our pair. All is well. At the 1:16 mark, however, the piano walks us down a staircase that is reflective of the quick descent in mood for these two. The peace was short lived and they again feel the underlying tension and reasons for fighting that likely wasn't resolved. The mood now (1:23 - 1:53) is a depressed one, indicated by the low and long strings with piano sprinkled throughout. At this time, the couple is trying to figure out the reason for their conflicts and seeks to resolve them. This section is particularly spicy because of the lead up and connectivity provided by the piano. I attribute the piano notes that are intermittent throughout to be points brought up by each person. Points here meaning reasons as to why they fight. And at first, they're valid reasons why they might fight - objective reasons such as outside influences.
But from 1:53 to 2:04, the piano converges and the strings give way. The reasons for fighting are directed towards each other, the other person being blamed for their innumerable flaws and faults. The piano also climbs in pitch, the tension is growing higher and higher. While I can't identify how certain sounds starting at 1:57 are created, these sounds seem like a deep grating and lasers being shot. The tension and hatred between these two has grown higher than ever and they're at a breaking point. And from 2:04 to 2:18, all hell breaks loose. Their largest and worst fight transpires and they're desperately trying one last time to make themselves heard while talking over the other. This section is marked by a sudden drop of the piano's hurricane as one person finally says something that makes the other pause. They've gone too far this time. There is no reconciliation or resolution for them.
The final section (2:18 - 2:40) provides interesting insight. The groups of trio notes speak to me of one broken heart trying to reach out to another in the final attempt to reconcile while the strings tell of a deep sorrow going through both of them. For one, it is regret for saying something irreversible. For the other, it is unbounded pain in their heart. And for both, it is a sadness. They know that this was the last straw and that they are finished. And we've returned to the damp and dark feeling of the beginning of the song. This time, the feeling is indicative of bitterness. As a last note, the lack of a snare drum here compared to the initial section was interesting. I believe it is because however messed up their relationship was, they both contributed to their relationship. Now, with one of them gone, their contribution is missing and the other is left all on their own.
Story Two: Misfortuna, There is No Escape
In this alternative story, the conflict is between two strangers that are experienced in combat and meet in an unfortunate situation. While this story isn't quite as generalizable, the message still is. Taken this way, the damp and dark feeling given by 0:02 to 0:32 is a grim loneliness. Whoever our lead is, they begin alone and are bitter about it. The higher pitched piano notes indicate a begrudging compliance with whatever mission compels them to keep moving. This mission could be a mandate administered by their beliefs and/or paranoia. I suspect that our lead is a very paranoid person, always suspecting someone is after them. The deeper intermittent notes, then, speak to the darkness of our lead's mood. Because of their paranoia, they're alone and they don't trust a single person. And they hate feeling like that. Additionally, they're always on the move because they don't trust anyone to hide their location and they fear capture. The snare drum could indicate that they indeed have a follower, as will be expanded upon in the next section.
For once, their paranoia is founded as someone - perhaps an adventurer - calls out to our lead to ask for identification and reason for travel as depicted by the sudden change from 0:32 to 0:39. The quickening of the higher notes show our lead noticing the other and then running with the adventurer following closely behind. On the other hand, the lower notes coming harder and more frequently allows us to see the fear and nerves of our lead become increasingly high. The strings here can be taken as a feeling of uncertainty, a nauseous tone as they realize there is no running. The adventurer catches up and there is no more room for fear or uncertainty as the skirmish begins at 0:39. Again, the fervor from the piano is unruly yet measured. These two are experienced fighters and they hold their own. The fight continues until 1:01, but as they realize they are equally skilled, they begin talking to try and figure the other out in ideology. These come out as sharp grunts both because they're still fighting and because they've no reason yet to like each other.
Those feelings remain until the section starting at 1:01. It appears that these two find a common thread between them - perhaps in their distaste for the regional government. Whatever quelled their fight, they managed to find peace and even a tenuous peace. For once, our lead finds and keeps a friend. But again, we descent the staircase of mental stability as guided by the piano (1:16). Our lead quickly recovers their paranoia and they're burdened by a feeling of agony. They remember that everyone is out to get them and are sad that they must betray their only friend in a long while to protect themselves. This contemplation deepens at 1:23, however, as our lead weigh the pros and cons of keeping this adventurer along as a companion. This time, the phasing in and out of the higher notes indicate different memories of betrayal and suffering caused by others popping up in our lead's mind as they ponder. All the while, the strings up to 1:53 highlight the pain and sadness that both underlie all these memories and their current situation. They can't stand having to be rid of all that come close to them.
The paranoia wins, but it's not quite so straightforward. The piano converges (1:53 - 2:04) into a cascade of horrible memories and experiences that our lead has faced and they can no longer see straight as they know what they must do. However, given that this is their first "friend" is a long while, our lead gives them a handicap rather than striking in the typical cloak and dagger style. The grating and laser shots this time indicate our lead goading the adventurer into an argument and their fragile relationship shatters as they quickly settle into their original feelings of each other. The final battle breaks out (2:04 - 2:18) and this time it is a passionate, hate-fueled fight for their lives. It is equally as measured and evenly matched as in the beginning skirmish but our lead finds an opening and strike the final blow onto the adventurer.
In this final section (2:18 - 2:40), we return to the now truly grim loneliness. The groups of trio notes played by the piano speak to me of true regret and grief. The strings? They just might be the quiet pleas for help from the adventurer. Our lead makes their usual escape but stops every so often as they're finally overcome by years of fear, paranoia, and loneliness. The painful cries of the adventurer, too, give them pause. But our lead manages to creep away and live in fear for another day. Similarly to the first short story, the departure of one partner is also marked by the absence of the snare drum. Unfortunate endings all around, eh?
Song Review and Rating
I think the choice of having this song be an instrumental song was key for a bunch of interrelated reasons. For one, music is often though of a language of its own that transcends spoken language and time. Spoken language is always changing and phases in and out. Music is a permanent installation of culture and communication. This song can be heard by anyone and its ideas understood. While A Turtle's Heart and Nine Point Eight highlight certain parts of the human experience, Friction is something that underlies relationships and humanity as a whole across time. This song is the first one of the album that is truly generalizable and relatable to all people. Another key reason is that this one song was able to tell two stories simultaneously. Rather, these two stories are what I was able to extract from my interpretation. I see no reason to think there aren't even more stories that may be variations of the ones I told or are completely unique.
Overall, I liked it! I didn't expect this song to be special since it didn't have any lyrics. I knew prior that instrumental songs are worthwhile in their own right but I had seen them more as modes for transporting moods and feelings. That is what Friction achieved, yes, but it went above and beyond. There was a clear story being told via these emotions. No, actually, what's really special about Friction is that it gives you the outline of a story. The rest is left open for you to fill in however you'd like! Now I know there are many more stories to be told out of this one song alone. It's reflective of media in general! In movies and books we often get similar storylines told in new ways. The core storylines and conflict are, in essence, few in number but encompass all the stories that are ever told. That's why we have the film reel sound in the beginning. Oh, this song is so much more than I could have ever imagined. These two stories are just the beginning. Yes, I can see even more possible stories unfolding before my very eyes. Although this song is at least eight years old, it's more alive than ever.
I give this truly timeless song an 8/10
Author's Note
Song four in this little project of mine and I run into another massive challenge. As my frequent readers know, I focus on the lyrics and only examine the instrumentals when it supports the message or theme of the lyrics. So, how does my format adapt to a song with no lyrics? I decided to take notes on the week's featured song as I normally do and figure it out from there. Then, I realized it would be fun to tell a story that I got from the song. But as I wrote about the first short story, I realized I saw another simultaneously. I wrote about both simply because I wanted my readers to have a post similar in length compared to my other reviews. I don't expect my readers to wait a week simply to read one short story. I'm glad I did because doing so opened my eyes to the flexibility of the song. Their work is nothing short of incredible.
Fun fact: I originally intended for this week's analysis to be a double feature! I didn't think I would have nearly as much to say about an instrumental song as I did. I was prepared to feature Friction alongside Fable and Ephemeral with Maroma Samsa at a later time in the album. Why these pairs? I expect Ephemeral and Maroma Samsa to be heavy hitters both in length and in story compared to the other two. Now, I'm not so certain as what to expect. Regarding this format, I'm uncertain this method will keep with the other three instrumental songs in this album. I'll try to do a similar format for those songs but I'll play it by ear. What you can count on, however, is a post every Friday. I do plan on having a surprise double feature one day, so keep an eye out ;)
And finally, thank you. Thank you for reading and for giving these a chance. I've just recently realized the true magnitude that this project entails and I'm overjoyed I get to do it for a small but dedicated audience.
Until next Friday,
Jailaster
