Jake Minch has a younger grownup voice: newly robust, courageous sufficient to let its softness present. You may hear the little kiss he provides to the phrase “you.”
His speaker in “handgun” narrates with that very same mixture of energy and tenderness: robust sufficient to hold some heavy questions, tender sufficient to sing about love.
This seems at first like a simple broken-heart love music.
The primary verses element the particulars of a heartbreak, specializing in the goofy components: spilling a white claw in your crush, kissing within the laundry room. These particulars maintain the music from getting too caught up in its personal drama. Regular and considerate acoustic guitar carries us alongside, and an assortment of strange little sounds – electrical guitar that’s gritty and shimmery and the identical time, and one thing like the decision of a lonely spaceship – take part because the music progresses, virtually as in the event that they heard the guitar and acquired curious.
Then the refrain asks, “Who provides a child a handgun? / Who provides a child to a mother who doesn’t need one?”
These questions come out of nowhere; or relatively, they arrive out of the information. They intrude upon the music in the identical approach they intrude upon any romance: jarringly, and unavoidably. In realizing how a lot one particular person can matter to us, we notice how treasured different individuals are. And it appears insane that anybody would harm anybody else. However there they go once more, everywhere in the information. What do you do with that?
You develop up. Perhaps it goes like this: “you bleached you hair for the swim crew / stated it’s for teenagers with most cancers or one thing / you stated you’d by no means dwell to see eighteen / however you chop all of it off on your birthday final week.”
This lyric is a double hit, a gut-punch and the gasp of air after. Regardless of the gesture of hair bleach solidarity, the youngsters nonetheless have most cancers; regardless of despair, the swimmer continues to be alive at eighteen. Minch’s character watches one other younger particular person wrestling with their very own helplessness: grand gestures that don’t accomplish a lot, premonitions of doom that don’t come true.
He watches somebody fail, and survive.
Minch sings, “the worst a part of rising up is studying how younger you’re.” I bear in mind, after I was a teen, coming right into a widening consciousness of how a lot bother we’re in, and feeling a pointy suspicion that the qualities that convey a cheerful ending in a youngsters’s ebook – braveness, kindness to strangers and animals, real love – don’t depend for a lot within the locations the place choices get made. What do you do with that?
Perhaps you ask extra questions. Minch’s subsequent set have a distinct tone from the primary: “Who let that child fall in love? / Who by no means instructed him sufficient is sufficient is sufficient?” These don’t have clear solutions: who may maintain somebody from falling in love? However by being inconceivable to reply, they direct us to a greater query: what do you do with that? Now that your coronary heart is damaged, what’s going to you construct?