Helen Marnie is a somewhat obscure artist known for her dark and sombre music with the iconic track The Hunter among others like Hearts On Fire, Wolves and Lost Maps with a slightly macabre held melody in addition to lyrics that cause a downturn in the morale of the listener. However, this kind of music reveals a kind of depression that exposes a more realistic outlook on life rather than the fake happiness found in the majority of pop songs.
[Verse 2]
A girl and a boy, just fun
No conversation, no complications here
Dark corners were made for dirty secrets
Work your way into my psyche
And hurt me
I'm my own worst enemy
[Pre-Chorus]
Hey now, hey now, boy
I am your water now
Hey now, hey now, boy
I am your water now
[Chorus]
When the nights are calling
Animal instinct always
Young blood cursing, violent flames
When the nights are calling
Signals pulse like we're electric youth
When the nights are calling you[Post-Chorus]
When the nights are calling
When the nights are calling
When the nights are calling you[Verse 1]
A story of us unfolds
I stand arrested, my education strewn
A girl and a boy, a guilty pleasure
Plain to see that you're taking over me
So, hurt me
I can't even help myself
[Pre-Chorus]
Hey now, hey now, boy
I am your water now
Hey now, hey now, boy
I am your water now[Chorus]
When the nights are calling
Animal instinct always
Young blood cursing, violent flames
When the nights are calling
Signals pulse like we're electric youth
When the nights are calling youElectric Youth changes the tone a little to something much more upbeat giving the impression to the uncareful listener that what’s being presented is something happy. However, it’s nothing but a façade and even charade of a dark meaning hidden behind excitement. It seemed that Helen wanted to make something lively but couldn’t help herself with morbid lyrics that are unintelligible until they are actually read.
A scene starts with an abandoned building full of graffiti and quite unkempt. Teenagers enter what seems to be a disguised dance room though completely unfurnished except with the shine of a disco ball. Curiosity shows up on their faces as they look around but they quickly get used to their entourage. The camera is pointed to demonstrate the group's impressive dancing talents but what lied behind them is the band.
The song immediately begins reciting the first verse right away revealing Helen’s existential disorientation. Dark lyrics of confusion become obvious but with no recourse to stave the chaos. She begins telling her story.
But that’s not the strongest part of the song, but rather the two climaxes in the chorus. It’s more important to begin with it as it unravels the loop that the song finds itself in. Essentially, it sets the tone for what it is to come and what came before it.
When the nights are calling
Animal instinct always
Young blood cursing, violent flames
When the nights are calling
Signals pulse like we're electric youth
When the nights are calling youLyrics start with a response to the call of night, a darkness and predator filled one and then followed by a plea to animal instincts which would help cope with the dim night-time. However, the day doesn’t come soon enough seeking refuge in violent flames, i.e. a camp fire. The reference to young blood is a sign of naivety, unprepared for the challenges that the night brings. As a result, she harks to the past, as a pulse of energy from an ‘electric youth’ where responsibilities were non-existent, wishing for it dearly. The verse ends again with another call to the night, because the first one hasn’t been answered.
Oddly, this is the most energetic part of the song, and the intensely dynamic choreography (performed by Urbaniks Street Skool of Dance) feeds into that energy. As soon as the chorus starts, the intensity of the dance fires up, turning the desolate abandoned building into a fire-filled dance. Perhaps this is how Marnie is trying to seek protection from the night, maybe projected through nightmares. However, that darkness is never seen in the music video. The enthusiasm presented is probably a retreat from the negativity.
We can see Marnie making an effort in order to suit her song to a wider audience, in addition to enliven her song a bit more to a mainstream listener, she picked the generally similar key and tempo found in other popular music. The main key is C# and she doesn’t really deviate much from it and a tempo of about 130 which is essentially the average key and rhythm of what plays in most popular radio channels.
Looking at the score, it is easy to find how strongly influenced is the song by pop music tendencies. The notes in both the accompaniment and bass note reside within the C# key seldom escaping from it. While the melody is quite novel, the percussion sticks to the modern tendencies of pop music with a very simplistic beat.
Chorus (First Half)
Interestingly, it seems that Marnie is trying to give the song an eighties vibe, something comfortable on a record player. While the dance is modern hip-hop style, the synth supporting it all is clearly less progressive. Like many songs of that era, leaving the instrumentation alone reveals that it’s not what builds the melody. Rather, the singing is the base of the melody. This is very common in music from that era as seen here by this example from Michael Jackson’s Beat It.
Hey now, hey now, boy
I am your water now
Hey now, hey now, boy
I am your water nowThe pre-chorus is really simple but the intention is actually quite complex. It shows a submissive side where the performer is allowing themselves into water. We would imagine that humans would melt into quavering jelly, but the liquid has lost so much essence that it has become something drinkable. The previous line invoking a ‘boy’ could be a reference to a love story, the secret but obvious undertone of the video.
Several scenes of the teenagers in a landfill dumpster seem to be running and playing around. This represents some kind of innocence that Marnie wants to bring back into her life but all is thrown out when a girl drops a tire down a hill. This is an attempt to cancel out the choruses which it succeeds but subconsciously showing falling action as a narrative.
There is an expression that is commonly used just before being ‘hey now, hey now’. According to some urban dictionary definitions, the expression is made when someone is approaching to make their presence known. It can be worded in such as way to signal something positive is coming. However, there’s an odd contradiction, these lyrics, being an introduction to the intense dancing also introduces the dark chorus we analyzed earlier. In other songs, this expression is often used in a positive sense only like in Hilary Duff’s What Dreams Are Made Of.
In addition, while the pre-choruses are repeated twice, there is some subtle difference between the two. In the first one, the percussive instruments are almost completely cut-off, leaving only the leading synth instrument with Helen’s voice going down a few notes. In fact, while the music preserves the original key, the notes are so far down that it gives the illusion of a key change, nearly an octave. The melody almost becomes the bass. Now, the second iteration of the pre-chorus has the same attenuation in terms of instruments, clapping is added which gives the impression of humanizing the section a little more. This brings the hope needed to get into the second chorus, which is also what the second climax brings into view again. However, the tension never truly goes away as seen by the lazier dancing done by the group.
The Pre-Chorus
The clapping is a common technique used by video game music when describing more lively levels with a so-called fun aspect or gameplay. An excellent example is Carnival Night Zone Act 1 from the November 1993 prototype of Sonic 3. In this section, you can definitely hear the clapping before this music also goes into its bells-sounding climax.
Now exploring the verses, two of them, shows a slightly more dangerous aspect to Marnie’s idea. They’re essentially a sign of hopelessness, confusion and disorientation. When they play, the dancing scenes are put away revealing mundane scenarios instead. (such as throwing rocks at an empty wine bottle)
The first one, the teenagers haven’t even entered the building yet, laying instead on the wall. At this point, this is where the first verse is reciting, immediately before the instrumentation even starts a few seconds later.
A story of us unfolds
I stand arrested, my education strewn
A girl and a boy, a guilty pleasure
Plain to see that you're taking over me
So, hurt me
I can't even help myselfAs Marnie puts it’s clearly, describing a story that unfolds, essentially a narrative for her enema. Arrested with a strewn education, in other words, uncertain knowledge implied by the use of the word education. She ends with a request to be hurt, unable to even help herself. This gives the section a very depressive feel, one where is so pained, they want more.
A girl and a boy, just fun
No conversation, no complications here
Dark corners were made for dirty secrets
Work your way into my psyche
And hurt me
I'm my own worst enemyThe second verse hints at the same meaning but with a slightly clearer undertone. Lost in dark corners where she hides her secrets of depression, work their way into her psyche as she states. This time however, the pain isn’t a request, but rather a result of her secrets. The fear gets to the point where she sees herself as her own enemy, presumably from some kind of trauma or longing for the past.
Both verses reveal a secret love story that Marnie never elaborates on. In both cases referring them to ‘a girl and a boy’. The girl being her, and the boy, presumable the one she mentions in the pre-chorus. There is a sense of innocence, amplified by her line ‘a guilty pleasure’ that isn’t sung anywhere else. However, the music video does show a couple being obviously attracted to each other with the subtle smiles between them and the kiss at the end. One of them inscribes a heart with the letters EYT (probably meaning Electric Youth) on their arm.
There are several scenes of some of the dancers riding old-school bicycles with the footage slowed down. I’m not entirely sure what meaning it serves, but it seems like the slowness represents a sense of hesitation, as if the singer is not really sure what direction to take the song into. However, I’m not certain if that was intentional as the music is very consistent despite going through two climaxes.
One more interesting aspect is how Helen presents herself in the music video, though only three times. Her hair is coloured grey, a sign of age and weakness. While she is desiring to relive her more lively-filled past-self, she can’t escape all the time that passed until she found herself participating in the band.
Finally, the song ends with a post-chorus which just repeats “When the nights are calling you” several times while the song slowly fades out and as the dancing slows down with the entire group on screen. It seems that the line accumulates positivity as the dark night becomes a lively party. I’d say that Helen has managed after several failed attempts of negativity, she finally manages to bring the song out of its hole.
Disappointingly, I don’t think the title of the song, Electric Youth, has much of a deeper sense to it. It just seems that it was put there just because the expression was in the lyrics.
There’s an interesting coincidence that the song title, Electric Youth, is also the name of a Canadian duo that just happens to sing electro-pop songs too. This is very likely to be accidental, in fact, I’m almost sure of it. While the other group does have some darker music at times, there is more positivity in what they compose and produce.
This endeavour of music analysis was probably the most difficult part because I attempted to go deeper than just the general feel of a piece of art. There’s always more ways to imagine a production because it gives a glimpse into the consciousness of the artist. Though this is certainly not a comprehensive analysis as I’ve missed quite a few parts. Feel free to comment with your own views!
