Headstones And Land Mines

Lizzy McAlpine's 'Headstones And Land Mines' is a poignant exploration of grief, loss, and the often futile attempts to find solace in material gestures and empty words. The song opens with imagery of 'headstones and land mines,' juxtaposing the finality of death with the unpredictability of emotional triggers. The mention of 'flowers and red wines' and 'nice things' highlights the societal norms of expressing sympathy, yet McAlpine quickly dismisses their effectiveness with the stark admission that 'it doesn’t help.' This sets the tone for a song that delves deep into the inadequacies of conventional comfort in the face of profound loss.

The second verse continues this theme, contrasting 'oak trees and dirt piles' with 'funerals and mistrials.' The 'pretty words' and socially distanced hugs ('hug from six feet') are portrayed as hollow gestures that fail to alleviate the pain. McAlpine's lyrics suggest that while these rituals are well-intentioned, they fall short of providing real comfort. The refrain, 'And nothing works but time / And it all hurts, but it’s fine,' encapsulates the harsh reality that healing is a slow, painful process that cannot be rushed or superficially soothed.

In the final verse, McAlpine shifts to a more introspective perspective, describing a 'study in scarlet' and a room filled with silent, inanimate objects. The 'heights marked in pencil' and 'kitchen utensils' symbolize the mundane aspects of life that continue unchanged, indifferent to human suffering. The books, 'just observers collecting their dust,' represent the silent witnesses to grief, acknowledging that no words can truly capture or alleviate the pain. This silence, paradoxically, offers a more honest reflection of the grieving process, where sometimes the most meaningful response is simply to be present without trying to fix what is inherently unfixable.