This is the 7th song I've found tonight, as I've gone through all the album threads on this "songs" section of the 'Tow, that does not yet have its own thread/discussion. FOR SHAME!!!

I say that because I feel like it's one of the stronger songs on this album. To put it quite plainly - I LIKE ITS SOUND. First of all, I think that the vast difference in instrumentation/music for the stanzas vs. the bridges does a good job of reflecting the disjointedness that would, I imagine, characterize a "Machine Ballerina". Despite Rupert Hine's overproduction (such a thing I have assailed numerous times), I think that, what I'm assuming T0 BE the case in this case, Vega's ideas of how music/instrumentation should thoughtfully either compliment or contrast with the lyrics shine through Hine's overproduction on this song, which is a miracle. Luckily, this song does not, I think, suffer as badly from his overproduction as "Penitent" does. (However, judging from how incredibly well "Penitent" fared in my recent "Top 10 favorite SV songs poll", maybe I should just shut up?)

I also think that, thematically, this song fits in much more with her songs on 99.9F with its preoccupation with identity and performance. Any other thoughts?

Discuss -

-M

hi milo,

first of all, i don't think that the fact that there weren't threads on those songs you mention on this version of the undertow necessarily means people dislike them. i speak for myself: i've written about some of them before (on the old tow and on "watermarks"), and one of them, "those whole girls (run in grace)" is really a favorite of mine.

you might remember that "machine ballerina" was heavily discussed on the old undertow. here's a summary of what i said there. to me, this song is about a character defying others perception(s) of who the character really is. it shows again the gap between what is private and public, what is the person and the persona. and that gap is musically emphasized by that "vast difference" in instrumentation you talk about.

the song that i always put together with it is "fat man and dancing girl", essentially because of the line "most of the show is concealed from view". here is the gap again, the curtain which separates what is shown and what must remain concealed. but while in the song from "99.9F" (as in the rest of the album), the character struggles with this duality, here, in "machine ballerina" (as in the rest of "songs in red and gray"), the character knows and accepts it and therefore defies others view(s).

love,
fátima

First of all, I wish this song was included as an a capella jingle like Tom's Diner. But heh.

The song seems like a parent talking to a child, with the child to young to understand verbal language. Or something. But, as Suzanne said I think, this song could also be about a relationship.