Courtesy of Clash.

When I came up with the idea for this column, I had a few specific pieces in mind, including the one I wrote about last week. Another is the subject of today‰’s analysis, “Poke‰” by Scottish indie-folk band Frightened Rabbit. One of my favorite bands, I saw them live at Lollapalooza 2013 and they are one of the best live acts I have ever seen. I also have a signed copy of their debut album, Sing The Greys.

But I‰’m digressing a bit. On to the analysis!

A minor warning I guess, before we continue. There is a certain word that is used commonly in the Scottish culture that some, in our culture, may deem very offensive. The word in question was used in the lyrics to “Poke‰” in order to evoke a very strong feeling and I will be discussing that a bit. Just to keep my readers aware, the word will be used a few times in the article, so use your own discretion.

Released on their 2008 sophomore record, The Midnight Organ Fight, the song begins with a very sparse arrangement: a finger-picked acoustic guitar is the first thing heard before Scott Hutchison‰’s thick Scottish brogue takes over with the opening lyrics.

Poke at my iris
Why can‰’t I cry about this?
Maybe there is something you know that I don‰’t.
We adopt a brand new language,
Communicate through pursed lips,
And you try not to put on any sexy clothes or graces

Here, Hutchison is beginning to spin the tale of two lovers going through a very awkward breakup. Instead of puckered, as they would be in a kiss, their lips are pursed, closed off, and sealed. It is also interesting to note, that, initially, the narrator in question seems to be emotionally distant from the situation. He “can‰’t cry‰” about it and requests to be “Poke[d]‰” in the iris in order to stimulate the tears. Remember this idea‰ÛÓI‰’ll revisit it a bit later.

The next lyrics are quite literally some of the best in the band‰’s entire repertoire, which, if you‰’re familiar with their work, is saying a lot. It may seem like a simple metaphor, but it is very telling of the situation.

I may never catch a mouse
And present it in my mouth
To make you feel you‰’re with someone who deserves to be with you

As anyone who has ever owned an outdoor cat (or in general a cat who enjoys the thrill of the hunt) can attest, they love to bring back their kills to show their owners, hoping that they‰’d be proud of their accomplishments. In comparing these unwanted feline gifts to attempts being made in a relationship, it is clear that neither party at hand here truly tries. The narrator is so sick and tired of having his efforts unappreciated that he has stopped trying altogether. And, thus, their relationship is failing.

Courtesy of KEXP.

If anyone has ever been in a situation where they are just calmly talking or thinking about something, only to suddenly realize something important about this thing and get emotional, then they can relate to what happens a few lines later, as the narrator wonders something aloud:

Why won‰’t our love keel over as it chokes on a bone?
We can mourn its passing and then bury it in snow.
Or should we kick its cunt in and watch as it dies from bleeding?
If you don‰’t want to be with me, just say and I will go.

In these lyrics, the question of why their relationship won‰’t just die is posed. Why do they still hang on to something that is so miserable and causes unhappiness in both parties? He then wonders if they should just kill the relationship in one fell kick to the‰Û_cunt? Why that word, one that is deemed so harsh and demeaning (at least in our culture. In Scottish culture, that word is basically punctuation)? He‰’s finally starting to get angry. He‰’s finally starting to feel for the relationship. He may be deflecting by using such harsh terms to define the relationship, but he‰’s no longer the emotionless person at the start. It is immediately after these lyrics that the instrumentation beings to fill out a bit. A few electric guitars joins in with the acoustic guitar ostinato, and a few droning tones provide more of an agitated feeling to the accompaniment, just as the lyrics have become more agitated. This continues into the final few lines:

You should look through some old photos,
I adored you in every one of those.
If someone took a picture of us now, they‰’d need to be told
That we had ever clung and tied
A Navy knot with arms at night,
“I‰’d say she was his sister, but she doesn‰’t have his nose.”
And now we‰’re unrelated,
and rid of all the shit we hate
But I hate when I feel like this and I never hated you.

The accompaniment becomes increasingly intense along with the lyrics, until after the last lines are sung, the distorted guitar riff nearly overpowers the acoustic guitar. As Hutchison sings the last line at what sounds like the top of his vocal range, his voice cracks. He spent passionate nights with her and they look close enough to be family in old photographs. You can hear the anguish in his voice‰ÛÓhe is lamenting the inevitable loss of this relationship‰ÛÓor is it a marriage? The line “And now we‰’re unrelated‰” seems to suggest so.

And that is the most tragic aspect of this song‰ÛÓit seems to begin detailing a loveless, dying relationship, but as it progresses, more of the truth comes out. It was most likely a marriage where she fell out of love with him. He still loves her and is heartbroken over it. There we have it. The request from the opening line has been fulfilled‰ÛÓhis iris has been poked.