- “What is that piece of music?”
From the moment the lights go down at the start of ‘Pinky,’ the audience is dropped into Pinkyland with a playfully magical piece of music. A blend of synthesizer, glockenspiel, accordion, and toy piano, the music seems to be simultaneously happy and sad, ethereally childlike and grounded in wistful sentiment.
When asked what the piece is, and who recorded it, I often reply, “It’s the Pinky and David Love Theme,” though that’s only my nickname for it.
The piece is titled ‘Karlekens Alla Farjor,’ by Swedish brother-and-brother-and-drummer trio Detektivbyran.
Featuring Anders “Flanders” Molin, Martin “MacGyver” Molin, and Jon Nils Emanuel Ekström, the oddball group released only two albums in the mid 2000’s, both of them classics of modern electronica-folk.
Often described as sounding like “mysterious circus music,” the albums of Detektivbyran have been used in countless European commercials and television shows. The first time I heard their 2005 album Wermland, as I was beginning the writing of the ‘Pinky’ script, I recognized a sense of youthful wisdom, hope colliding with regret, knowing that they were, in a way, the very emotions that I was exploring in the play, only expressed in music rather than in words.
Wermland became part of my writing process. Whenever I would begin to write, I would make sure that I could listen to some or all of the album, just to get me in the right mood. I listened to it for months and months. There were other pieces of music that I listened to during this period, but Wermland was the biggie. Once the script was done, I included two tracks from the album on a mix-tape I gave to Sheri Lee Miller, the play’s director. The tape was a mix of all the songs and tunes that I listened to during the writing of ‘Pinky,’ including the cut ‘Karlekens Alla Farjor,’ (http://www.youtube.com/watch?v=dB3IjYdOgco) the English translation of which is apparently ‘Calling All Ferries.” That’s ‘ferries’ as in ferry boats.
I was thrilled when, several weeks later, Sheri mentioned that she’d selected the music she wanted to use in the production of the play, and that the piece was her favorite piece from that mix tape.
I have to admit, that’s exactly what I’d been hoping for.
How perfect that Sheri also recognized how perfectly matched to ‘Pinky’ that one weird little piece of music is. And that is how ‘Karlekens Alla Farjor,’ by a defunct Swedish music group, became the musical soundscape of ‘Pinky.’
TWO MORE PERFORMANCES ONLY
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