As “Falling Back” ends, Drake repeats the phrase “Falling Back on…” 23 times. What is so intriguing about this is how it provides an experience of over-abundance-and-indulgence, 23-times in-a-row. It is novel to experience anything that many times in succession, but a melody makes the experience immediately-accessible. As a singer/songwriter, if Drake is trying to create empathy for the anxiety of not making the right decision when he has so many options, a practical way to create this empathy is to experience what is heard for the second-half of the song.
This is a metaphoric and ideological repetition, 23 times. Drake also features 23 brides in the music video, so regardless intention, it is almost as if each line represents a different betrayal or relationship. It is easy to hear this, as with each repeated phrase, the song also builds in vulnerability and emotion; the literal words and meaning become abstract — it’s more about the overall sound.
In the metaphor (and literal reality) of having too many potential true loves and not wanting to choose the wrong one, there is a real fear and hurt communicated, particularly with Drake’s use of falsetto. With the first-half of “Falling Back” about self-reflection and introspection, it is easy for the cathartic journey of this song to inspire deep emotional truth: even tears.
The lyrics can be found here. Here is the official music video:
Daniel Dumile channels various traits of his personality into several characters. One character, Viktor Vaughn, embraces a youthful, ambitious side of Dumile. Another, King Geedorah, represents a colossal alien who commentates on humanity from an objective view-point. On 2004’s Madvillainy LP, Dumile teamed with Madlib to create a character known to many as “Madvillain” (also referred to as “The Villain”/”Villain” on the recording), and it is in this character why so many have flocked to Dumile’s provocative flow.
In the opening statement of Madvillainy, “Accordion”, we have a chance to meet Madvillain — or at least, we hear a testament to his greatness. What differentiates Dumile’s braggadocio from his contemporaries is in the nature of said testimony. The opening narration, “Living off borrowed time the clock tick faster” is entirely detached from the rest of the verse. The line vaguely contemplates upon the notion of time before sparking inspiration from an observer of said narration. This is the masked man who tells the tales of the legendary Madvillain — MF DOOM.
Think of MF DOOM, in the context of “Accordion”, as a street poet or preacher upon a soapbox, dazzling the audience with hyperbole-ridden tales of a legend (Madvillain) whom is not even physically present (and indeed, artistically, Dumile literally hides “Madvillain” behind MF DOOM’s mask). The very next line which follows the opening narration is spoken matter-of-factly, responding to the omniscient narration, as if one was reading a newspaper and remarking indifferently: “that’ll be the hour they knock the sick blaster“.
This line, as soon seen, starts a stream-of-consciousness description of Madvillain as a character. The reason why this lyricism inspires such originality and thought within the listener is because Daniel Dumile is not the one boasting about Madvillain (at least, directly). Instead, what Dumile does is create a third-person narrative, using what amounts to a street preacher (MF DOOM) to describe a main character (Madvillain) which personifies certain elements of a real personality (Daniel Dumile).
While “Accordion” is riddled with interpretive poetry, arguably four of the strongest lines are found in the following verse:
Keep your glory gold and glitter For half, half of his n***** will take him out the picture The other half is rich and it don’t mean s***-a Villain a mixture of both with a twist of liquor
In these four lines, Dumile, as MF DOOM, describes Madvillain as someone who is unaffected by promises of monetary gain and illusionary, ‘glittering’ successes. In the second and third lines, we learn of his rationality for this mindset. While these lines strike hard just for the discussed content, the final line pulls together the reason why the audience is so captivated by “Accordion”. “Villain a mixture of both…” is self-loathing and self-inspiring all at once, admitting that Madvillain, as a character (and thus, part of Daniel Dumile), embraces both extremes — “with a twist of liquor”.
While “MF DOOM” is telling of the “Madvillain” character/legend, the fourth line (“Villain a mixture…“) carries the same sort of off-handedness which follows up “Living off borrowed time…” — the opening line of the song. This alludes a light-hearted glimpse into the actual character of “MF DOOM” (the street-corner poet/preacher), indirectly suggesting the characters within the world of “Madvillainy” see themselves as Madvillain. Therefore, they view him in a heroic light, and not with the same villainous bent as most of the populous.
See Genius’ entry on “Accordion” for a line-by-line interpretation.
The lyrics are found here. Here is the official music video:
“Don’t take my life away / Don’t take my life away”
The manner in which she sings this, rapidly and frantic, suggests that this song may work best if you take the lyrics on a literal level before analyzing interpretatively. In the main chorus of the song, it sounds as if Garbus is describing a mugging. From the opening line (“What’s the business?“) asking just what the hell is happening, to the realization that the mugger is moving closer (“From a distance“) finally to the attempt to try to empathize with her perpetrator (“I’m a victim!” / “I’m addicted!“) It all paints a very visual picture. The intensity of this image obvious increases with every repeated plea (“Don’t take my life away!“).
WhoKill as an album seems to deal with similar subject matter upon the surface, and then on a deeper level one can interpret these things to act as metaphors for more intimate personal issues and insecurities expressed in song. If you look at the opening verse in this same “Mugger” mindset, you can see how well it fits with just about every line. The opening, in particular, makes much more sense on a surface level when analyzed from this perspective:
“If I represent the one that did this to you / Then can away the part that represents the thing that scarred you”
It seems to be an extended plea intended to be said to the mugger, only to be mentally pondered. Muggers obviously don’t personalize or discriminate in terms of the individual; though if they are robbing you chances are you have a look of wealth or content. She rationalizes, “If you are mugging me because I look like everything you aren’t and desire to be (in terms of wealth), then you need to get over whatever it is that personally traumatized you.” Such a powerful, opening line. Obviously, we are starting to see the deeper intentions of the song.
Immediately after this declaration of “Fix yourself before you hurt me”, she declares (“Get up / Stand up / Get on it!“) both the listener and herself to defend against the situation as to change the outcome (“I am no longer who you thought this one would be“). A victim can be mugged, but a victim in self-defense is not such an easy target.
After this confidence boosting declaration, it’s revealed that she (as a victim) still ends up running into this mugger once more (“We end up around the mountain that I climb to lose you“) and despite how bold she was just moments before, meeting this mugger causes her to enter a state of shock (“Ask me, Tell me / but all my wisdom departed“). Finally we enter in the main chorus, the confrontation, where all she can ask is “What the hell is going on / How did I get here / Don’t take my life away / I’m just like you!”
This entire time we have seen how simply the song reads in a literal manner, but it’s during the third verse where we start to realize that the song works much more beautifully on a symbolic level. Regardless, finishing up the mugger theme, the victim in the song tries one final plea. She states how “I’ll bleed if you ask me”, and we see how the mugger’s response is a simple “No” (“That’s when he said no“) before we enter back into the confrontational chorus once more. I’d like to point out that the song ends asking the question “What’s the business?” repeatedly, as if Garbus is restating her disbelief of the entire situation.
Obviously, you can replace the whole Mugger / Victim theme with many concepts and interpretations, but what will remain consistent is the general narrative between the two parties. If you go for the relationship-route, the song becomes a symbolic tale of frustration between two would-be lovers. I see it as someone meeting someone who has been hurt in a prior relationship, so badly, that they see all of that heartbreak in every new person they meet, including the protagonist of the song.
This is very similar in subject matter to the song “Abducted” by Cults (I analyzed this here), the major difference is that Garbus is attempting a solution to the problem, whereas Cults focused on the sad cyclical nature of the whole thing. The first verse then declares the protagonist of the song to be their own individual and not connected to any horrific past relationships. The second verse reveals how the protagonist of the song does NOT enter into the relationship (“The mountain that I climb to lose you“), but ends up meeting this person again in life anyways (“We end up around the mountain“), this time demanding why things can’t work out (“Answer me this!“). At the same time, there is a realization that no one wants to throw their time away with someone who is just going to hurt them (“Don’t take my life away“), so the protagonist is repeatedly asking in the chorus “What’s the business” — what hurt you before/are you ready for this/I don’t want to be hurt — before finally revealing she does fall in love (“I’m addicted yeah!“).
Writing this, I see a plethora of abstract and less direct ways (ex- an internal dialogue) of looking at this song from several perspectives, but the two general interpretations I’ve provided do indicate that the song is a song about frustration stemming from misunderstanding and miscommunication. The protagonist attempts to overcome this (in whatever the medium is which the frustration is occurring, depending on personal interpretation), and in the end she finds herself addicted. The real question, is to what? To heartbreak? To falling in love with those who are scarred? The song’s brilliance lies in how many windows it can be seen through, and I hope my interpretation has provided some insight into whatever your personal interpretation of the song happens to be.